Abstract
In the context of globalization, the end of art is not merely to be attributed to the end of history in general but is to be related to the end of the modern era that was constructed in Europe and America. From an eastern perspective, the problem of the modernity of art has never existed, neither before Euro-American modernity nor outside its geographic bounds. However, were art to come to an end, the aesthetics of everyday life would appear in the wake of its disappearance. Three distinct developments of this aesthetics would be conceptual art, performance art, and land art. Since traditional Chinese aesthetics is by nature a reflection of the art of living, new conclusions might be reached by taking these traditional Chinese aesthetics as frames of reference in effort to rethink the issue of the end of art. Keywords: Chinese aesthetics; conceptual art; Euro-American modernity; globalization; land art; performance art
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