ontemporary art, at least that on the radar of the Chinese capital’s oligarchy, is in a marketing crisis. The art is rarely good; the optics are worse. In June, after public, mostly feminist, outrage on Chinese social media, OCAT Shanghai took down Song Ta’s (2013) from a group show. The video comprises nearly eight hours of footage, recorded without consent, of female university students, ranked by their appearance. Song has made his name with parody and transgression in an art
