根据北京大学“中国现代艺术档案”(CMAA)2024年的统计,全年网媒+纸本共2912篇文献,其中涉及行为艺术的文献115篇,总体占比不足4%。就内容而言,集中于年度展览报道的106篇,集中于历史脉络梳理的9篇。由此可见,针对行为艺术的当下实验与意义回溯尚未实现并行推进。就侧重点而言,作为专题讨论的18篇,作为主题讨论的48篇,其他则多与装置、影像、绘画、雕塑、数字艺术等艺术形式关联,且多与全球化、后殖民、女性、科技、生态等社会议题耦合。这一现象所反映的,一方面是行为艺术作为艺术形式的不可或缺; 另一方面是行为艺术对社会的介入以及对现实问题的反思和推动。

According to the 2024 statistics of the “Chinese Modern Art Archive” (CMAA) at Peking University, a total of 2912 publications across online and print media were recorded during the year, of which 115 articles addressed performance art, representing less than 4% of the whole. In terms of content, 106 publications were devoted to reports on annual exhibitions, whereas only nine focused on tracing historical contexts this indicates that current experimentation in performance art and retrospective inquiries into its significance have not yet advanced in parallel. In terms of emphasis, 18 publications were classified as specialtopic discussions and 48 as thematic discussions, while the majority was associated with other artistic forms such as installation, video, painting, sculpture, and digital art. These were often intertwined with broader social issues including globalization, post-colonialism, feminism, technology, and ecology. This phenomenon reflects, on the one hand, the indispensability of performance art as an artistic form, and, on the other, its interventions in society together with its capacity to provoke reflection on and drive engagement with social realities.