The following evidences support the argument made by Kee. “Not all ink paintings are as visibly invisible as the medium is generally”. For instance, Zao Wou-ki’s works are documented as examples of modern art and they have been recognized as ink paintings. This form of selective recognition displays contemporary or modern ink painting as a theme described by the endorsement of distinctions. Standing assists in the illustration of die correlation between contemporary art and contemporary ink painting as a practice through which the differences are made through proximity apprehensions. Ink paintings usually accomplish standing through proxy. They are viewed as contemporary based on their possible associations with questions, conditions, and subjects previously reified as important to contemporary art or as contemporary. For instance, Zao’s background is a good example in this regard. Zao was a Beijing native and in the 1930s, he joined Hangzhou National College of Art, which was entirely preoccupied with artists’ fluency in media linked with the West and the East, that is, media such as oil and ink. After the Second World War, he went to Paris where he was affiliated with the France art world. In France, he was able to encounter ink painting afresh in the absence of the ideological relationships forced on the medium during the 1950s. The sophistication of Zao’s negotiations, “however, were commonly resolved through a modernist view of abstraction, whose terms were codified by the discussion of specific bodies of euro-American painting”
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