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Widespread state control over art and culture has left no room for freedom of expression in the country. For more than 60 years, anyone with a dissenting opinion has been suppressed. Chinese art is merely a product: it avoids any meaningful engagement. There is no larger context. Its only purpose is to charm viewers with its ambiguity.

The surrealists, and the modern movement in painting as a whole, seemed to offer a key to the strange postwar world with its threat of nuclear war. The dislocations and ambiguities, in cubism and abstract art as well as the surrealists, reminded me of my childhood in Shanghai.

Some prescient American collectors, including Vicki and Kent Logan and Mera and Donald Rubell, began collecting Chinese art before 2000 with a genuine passion, but as the auction prices exploded everyone was beating a path to the galleries and artist studios in China. It became the 'China thing.'

When Nixon opened the door to China in the early 1970s, Chinese artists got their first view of the West. Suddenly five centuries of Western art lay before them as a stylistic smorgasbord. Chinese artists could reinterpret it out of admiration or try to replace it. They choose the former.

Chinese artists have been subversive over thousands of years, taking what they think of the government and embedding it in their art. There might be censorship of not going as far as they might.

Calls for the simplification of abstract or allusive art have always come from governments suspicious of artists themselves. This is why totalitarian regimes have always legislated some form of realism.

The conceptual artist Ai WeiWei illustrates the schizoid society that rapid change has produced - sometimes by reassembling Ming-style furniture into absurd and useless arrangements, or by carefully painting and antiquing a Coca-Cola logo on an ancient Chinese pot.

For all the social changes in China can be traced to their early beginnings in the days when the new tools or vehicles of commerce and locomotion first brought the Chinese people into unavoidable contact with the strange ways and novel goods of the Western peoples.

Real art is one of the most powerful forces in the rise of mankind, and he who renders it accessible to as many people as possible is a benefactor of humanity.

People were more interested in the phenomena than the art itself. This, combined with the growing interest in collecting art as an investment and the resultant boom in the art market, made it a difficult time for a young artist to remain sincere without becoming cynical.