王广义以中国东北的1 个铁路工人儿子的身份经历了文明 大革命（1966-1976）。他经历了三年的下乡，而在他的父亲退休以后 成为了一位 铁路工人。尽管这时候 暂时没有了上大学的希望，但他却没有从未放弃过这个梦想。在几次失败以后 ，他成功考入了浙江美术学院，并于1984年毕业和获得油画专业学位。目前居住和工作于中国北京。尽管王广义经历过童年的物资 贫乏，但是他总是尽量不谈及金钱与财富相干 的话题。王广义用他的《大批判》系列获得了批评家和国际艺术市场的关注，成为了中国当代艺术的标识性人物。

《大批判》系列在学术和市场上的迅速成功，让1 些批评家认为他就像他之前的艺术家1 样，比如达利和沃霍尔，过于专注于已 获得巨大成功的作品的生产。而事实上，艺术家总在同时就不止1 个系列的作品在进行工作，而于2007年他彻底地终止了《大批判》系列作品的创作。

《凝固的北方极地》1984-1985
《凝固的北方极地》系列作品在外表上是冷酷和荒芜的，这些作品的外型 简洁、笔触平滑，用这类 方式描绘了对于这个生于中国北方的年轻艺术家而言非常熟悉的寒冬的环境。而这些以北方极地为图景的绘画作品，在实际上却与地理的特征并有关 连，而是作为1 个新信仰诞生的地域符号被描绘。“北方极地”是1 个个体必须面对本身 而非面对社会的地域。在创作这些作品的年代，共产主义代表了中国的信仰和将来 ，但是王广义所在的北方艺术群体却并未使用辩证唯心主义 理论，而是选择了针对对东方 的哲学。
《后古典》系列，1986-1988
与1 开始就确立的信仰基础与思想有关，王广义与他的伙伴对东方 古典艺术抱有1 种认同。《后古典》系列是从对东方 和宗教、道德、信仰和 认识 形状 相干 的伟大作品的综合修正开始的。这些绘画使用了不同的灰色调和 概括的人类外型 、没有细节的环境。王广义的目的是构建1 种偏离古典艺术的具有详实 阐释的图式，这是1 种他用以表达他在浏览 了贡布里希以后 所构成 的观念和个人立场的策略。
《大批判》系列，1990-2007
这些作品使用了文明 大革命的宣扬 画图片和 古代 东方 商品的标志。王广义于1990年开始了这个系列作品的创作，并于2007年结束；此时，他已 完全觉得这系列的成功会对这个系列的作品的原始含义有所损害，也在这个时候，他开始正式将政治性宣扬 画和商标视为两种洗脑方式。
《VISA》，1994
这件安装 作品和各个国家政府的控制机制相干 ，该机制使用不同的身份识别文件和签证来控制个体的行为。在这个安装 中，王广义使用了叠放有序的木箱；这些木箱面对观众的1 面呈现了在病院 监护病房拍摄的1 张婴儿的面孔，图片是红色和绿色的。在这些图片上，王广义还用丝网印的方式印上了他的姓名，性别和构思这件作品的时间（1994年1月2日），还有艺术家曾经使用的传呼机的号码。而在其中1 些箱子上，印有 “VISA”的字样。
《护照》，1994-1995；《Visa》，1995-1998；《病毒携带者》，1996-1998
在这些系列的绘画中，“护照”“Visa”“病毒携带者”这些文字像印章1 样被叠印在狗、婴儿和成年人的图像之上，在上面还书写了姓名、出生第、出生日期和主体性别等正文 。这些作品将于过境的行为相干 的官僚程序呈现出来，揭示了国家组织在制定它们本身 的防御零碎 的同时也将个体设定为潜在的风险 体。《病毒携带者》系列绘画描绘了狗的图像，上面还绘制了和动物身份证明文件相干 的信息，使得这些狗具有了风险 的病毒携带者的特征。《Visa》、《护照》和《病毒携带者》这些作品对社会将恐惧作为1 种控制零碎 来进行使用这1 事实进行了回应，掩盖了潜在的风险 和要挟 本身。特别是，王广义察觉到了1 种完善 的充满彼此 怀疑和未知的风险 的氛围，这曾在冷战时期趋于成熟而遗留至今——尽管它在因强制教育而产生的残酷上有所减弱为。王广义的回应次要 针对权力和个体之间的关系，这类 关系通过共同的恐惧来保持 控制，以便让其本身 构成 1 个堡垒，以对抗未知的风险 ，而这些风险 可能忽然地攻击毫无防备的人们。艺术家主张，通过这些形状 的心思 压榨 ，1 个不言而喻的契约被用来保护不受新病毒的传染，而作为交换，权力和个体之间的个体的部分自在 将被抛弃 。
《卫生检疫——所有食品都可能是有毒的》，1996；《24小时食物变质的过程》，1997
在创作《卫生检疫——所有食物都可能是有毒的》时，王广义重现了1 个附近社区的小型超市。在这次重现中，除了包括超市中的普通 商品，货架上方还悬挂了21张艺术家从卫生防疫站收集来的宣扬 图片，这些图片呈现卫生缺乏所可能带来的风险 。当旁观者面对这类 并置的时候，他们被迫去面对这类 不安和恐惧——他们可能曾1 度这类 不安和恐惧已 伴随冷战的结束而结束。成心 思的是，在南方的潮湿天气下展览的时候，里面蔬菜开始腐烂，而土豆、洋葱和番薯则生根和发芽了，这产生了1 种另外的视觉景观；这类 景观甚至营建 了1 种美丽的景象，而不是食物变质的“恐怖”。在《24小时食物变质的过程》中，艺术家呈现了所有食物本身所具有的所谓的24小时的“保质期”。 如果食物被长时间 存放，这些食物将从被称之为“新颖 ”，然后随着时间的推移慢慢发生1 些变化。这件作品由十张宣扬 图片和四个未经密封的无机 玻璃器容器组成，防止在这些容器中的，除了1 些从市场上买来的蔬菜水果，也有1 些塑料袋和瓶子、罐子等杂物。这些食物在放置1 段时间以后 ，逐步 的发生变质并发出难闻的气味。基于展厅环境和观众等要素 的考虑，放在玻璃容器中的蔬菜和水果被更换过好几次，所以艺术家所期望的那种呈现食物经由漫长的时间直至腐烂的过程，实际上是被中断 了。
《基础教育》
《基础教育》是1 个对冷战时期工作场景进行再创造的安装 作品。这次重构由铁锹、脚手架、工作服、鞋子、手套和宣扬 画等组成。这个真实的场景意在重新激起1 种担忧，而这类 担忧是通过再现那种已 被认为完全终结的心思 趋向所导致的。
《唯心主义 者》,2001-2005
《唯心主义 者》是1 组由12个来自宣扬 画中的工人、农民和士兵外型 所组成的雕塑群。根据王广义的叙说 ，这些宣扬 画图片揭示了人民这1 主体，他们行为中的愤怒来自于思想中的信仰。通过这些雕塑，艺术家尝试将这些抽象 塑造为普通 的人民。关于辨证唯心主义 ，“唯心主义 者”是特定的进口到中国历史中的词语方式，这个词对社会主义认识 形状 进行了概括。中国的历史强调，中国人是“彻底的唯心主义 者”、“彻底的唯心主义 者是临危不惧 的，可以克服 这个世界，可以改变我们国家的人民的命运”。与此同时，艺术家在该作品中也看到了另外的1 层含义：在艺术中，普通 来讲是把那些带观念色彩的东西称之为‘物体’，这在汉语中“唯心主义 者”具有相反 的词根。王广义说道：“‘唯心主义 者’在这里有1 种言语 学上的关连性。我想使用‘唯心主义 者’来建构1 种双重的暗示，以使观者产生双重的文明 联想。”
《劳动者纪念碑》,2001
《劳动者纪念碑》的最后 方案是想在现场翻制20块印有20年来深圳华侨城劳动模范和死劳伤工姓名的水泥预制板，然后罩上无机 玻璃，使每块预制板都具有“另类”纪念碑的意义。但在终究 展现 的《劳动者纪念碑》中，他直接复制和挪用了传统劳动者纪念雕像——《唯心主义 者》，通过安置玻璃罩柜，使这类 在中国人记忆中十分熟悉的抽象 产生了1 种疏离和同化 的视觉效果，并提示人们在1 个消费主义的现场重新关注“劳动”和“劳动者”的含义。
《冷战美学》,2007-2008
王广义确信国际政治场景仍然受到过去的认识 形状 和国家之间的政治冲突的影响，比如苏联和中国，王广义在2007年创作了这个系列的作品，通过这些作品，艺术家借以分析冷战时期的宣扬 画对于心思 层面的影响。《冷战美学》是1 个由影象 、雕塑、20世纪70年代的冷战时期宣扬 画和由这些宣扬 画所激发出来的油画作品所组成的安装 作品，中国政府通过这些手工绘制出来的图像来指点 全体居民在遇到核攻击的时候应当 如何作出反应。里面的场景全部都是关于国家防御零碎 的，在20世纪70年代以此来指点 人民应当 在遇到化学和平 、核和平 、细菌战的时候应当 如何保护本身 ，这是艺术家在儿童时代所参与的训练的回忆。通过对这1 事件段的回忆的重建，这个安装 约请 观众面对那些年代的事实，使观众重温被冷战时期所塑造的氛围和思想。王广义将这些近代对当下产生影响的事件留给了观众，让他们本身 去思考。

《温度》,2010-2011
《温度》是1 组由40组、共计1920个温度计组成的安装 作品。这些温度作为承担多重隐喻的器具，揭示了世界不同区域的当下“温度”。但是这个安装 的目的并非要去描述实际的热力学意义上的温度，而是政治气候——当地居民所经历的紧张与缓和——而这是和他们所处的政治和社会环境相干 的。

《新宗教》,2011
《新宗教》系列是1 系列由伟大政治（列宁、斯大林、毛泽东）、宗教（基督）、政治宗教领导人（约翰23世）为主体的布面油画作品，还有那些在思想上仍在对今天产生影响的哲学家（马克思和恩格斯）。王广义将这些图片以负片的方式进行了处理。尽管艺术家在这些作品中使用了传统的油画技法，但是这些图像指涉所提供的歧异直接打破了观众对这些图片的已有观念，因而 而打开了这些图片的新的阐释可能性。画布上的那些如印章般的数字和 滴淌上去 的色彩 提供了同样的作用。通过这个系列的作品，王广义进行了自我提问：处于伟大乌托邦之间的普通人民，人类身上所具有的迷恋，和 为什么 所有人都需求 寻觅 1 个用以安放他们的信仰的抽象 。

《圣物》,2012
《圣物》用600块油毡布在地上叠堆成长立方体的外形 （10 x 1.2 x 0.8 米）。这些油毡布隐喻了古代用来书写的卷轴——在古代，会使用尖笔在这些腊片上刻字。对这些油毡布的堆放构成 了连续的层叠，提示了通过书写的时间而得到的知识的积累。这些叠放的片成为了世界的图景——在它们的堆叠和混合中，艺术家将生命赋予了这些丰富的杂物。因而 ，也相应地触及了形而上的界限，在这个界限中，“圣”代表了1 个观照和交流的世界，而不是1 个充满冲突的世界。

《自由 之物》,2012
《自由 之物》是1 个由装满稻谷的麻袋沿着展厅的四周堆叠而成的1 个类似漏斗外形 的安装 作品。这个安装 的缘起是王广义年轻时期的记忆；他鄙人 乡的时候曾经在粮库工作过。这些粮袋在这个安装 作品中远比它们在粮库中更具有魅力，这超越了《自由 之物》里所包含的艺术家年轻时期的提示。在这个2012年在北京今日美术馆所实施的安装 中，由于这些麻袋里所装的谷物可以由他们所散发出来的气味而被知晓。在《自由 之物》中，王广义为此给予了1 个形状 和图景：在经验以外 的，是未知——也是因而 而被康德称为物自体（noumena）的东西，即自由 之物（thing-in-itself）。

Wang Guangyi, the son of a railroad worker in Northeast China, experienced the Cultural Revolution (1966-1976). He went to the countryside for three years, and after his father retired, he became a railroad worker. Though there was no hope of the University, he never gave up the dream. After several failures, he was admitted to the Academy of Fine Arts in Zhejiang and graduated in 1984 with a professional degree in oil painting. Currently living and working in Beijing, china. Although Wang Guangyi has experienced the material poverty of his childhood, but he always try not to talk about money and wealth related topics. Wang Guangyi has gained the attention of critics and the international art market with his "great criticism" series, which has become the symbol of Chinese contemporary art.

"Great criticism" in the academic series on the market and rapid success, let some critics believe that he like his previous artists, such as Daly and Warhol, too focused on the remarkable success of the work of production. In fact, the artist is always in a series of works at the same time in the work, and in 2007 he completely terminated the "big criticism" series of works of creation.

Solidification of the northern polar 1984-1985
"Frozen" series of works is the north polar cold and barren in appearance, these works form concise, smooth strokes, in this way described for this young artist Chinese was born in the north are very familiar with the winter environment. These paintings, which take the northern polar region as a picture, are in fact not connected with the geographical features, but as a regional symbol of the birth of a new faith. "North Pole" is an individual must face their own rather than the face of the community. In the creation of these works in the 1990s, the Communist Chinese represents the faith and the future, but Wang Guangyi's North art group did not use the theory of dialectical materialism, but the choice for Western philosophy.
"Post classic" series, 1986-1988
With the beginning of the establishment of the basis of faith and thinking about, Wang Guangyi and his partners on the western classical art has a kind of identity. "Post classical" series is from the West and religion, morality, religion and ideology related to the comprehensive revision of the great works of the comprehensive revision. These paintings use a different gray tone as well as a summary of the human form, without the details of the environment. Wang Guangyi's goal is to construct a detailed interpretation of the concept of a deviation from classical art, which is a kind of strategy that he used to express his ideas and personal position after reading Gombrich.
"Great criticism" series, 1990-2007
These works have used the Cultural Revolution propaganda picture as well as the modern western commodity mark. Wang Guangyi started the series of works on 1990, and ended in 2007; at this time, he has been completely think this series of success will be damage to the original meaning of this series of works, at this time, he began the formal political posters and trademarks as two ways of brainwashing.
"VISA", 1994
This device works with the control mechanisms of various national governments, which use different identity documents and visas to control the behavior of individuals. In this device, Wang Guangyi uses a stacked, ordered wooden box, which faces a baby's face in a hospital intensive care unit in the face of the audience. The picture is red and green. In these pictures, Wang Guangyi also used the screen printing and printing his name, gender and the idea of this piece of time (January 2, 1994), and the artists who have used pager number. And in some cases, printed with the word "VISA".
"Passport", 1994-1995; "Visa", 1995-1998; "virus carrier", 1996-1998
In these series of paintings, "passport" "Visa" "virus" these words like the seal was superimposed on the dog, infants and adults in the above image, also has written the name, date of birth, birth and body gender notes. These works will be presented to the transit of the behavior related to the bureaucratic process, revealing the national organization in the development of their own defense system, but also the individual as a potential risk. "Virus carriers" series of paintings depicting the image of the dog, the above has also been painted and animal identification documents related information, so that these dogs have the characteristics of the risk of virus carriers. "Visa", "passport" and "virus carrier" these works to the society to fear as a control system to carry out the use of the fact that the response, to cover up the potential danger and threat itself. In particular, Wang Guangyi noticed a perfect full of mutual suspicion and unknown dangerous atmosphere, it was during the cold war period and mature -- although it has left in the arising of compulsory education has weakened into a cruel. Wang Guangyi's response focuses on the relationship between power and individual, this relationship through common fear to maintain control, so that its formation of a fortress, with dangerous against the unknown, and these people may be a risk of sudden attack defenseless. The artist claims, through these forms of psychological oppression, a self-evident contract is used to protect against the new virus infection, and as the exchange between individuals, power and individual free will be abandoned.

"Health and Quarantine - all food can be toxic", 1996; "24 hours of food deterioration process", 1997
In the creation of "health and Quarantine - all food is likely to be toxic," Wang Guangyi once again to reproduce a small supermarket near the community. In the return, in addition to include general merchandise in the supermarket shelves, top hung 21 artist station to collect pictures from the health and epidemic prevention, the pictures show the possible lack of health risk. When faced with this juxtaposition of onlookers, they were forced to face this kind of insecurity and fear -- they may once this kind of insecurity and fear has been accompanied by the end of the cold war ended. Interestingly, when the exhibition in the South under humid weather, which began to rot and vegetables, potatoes, onions and potatoes are rooting and germination, this produces an additional visual landscape; the landscape and create a beautiful sight, instead of food spoilage of terror". In the course of 24 hours of food spoilage, the artist presents the so-called 24 hours of "shelf life" of all the food itself ". If the food is stored for a long time, these foods will be referred to as "fresh", and then slowly over time, some changes occur. This work consists of ten pictures and four without organic glass container seal, to prevent in these containers, in addition to some from the market to buy vegetables and fruits, there are also some plastic bags and bottles, cans and other debris. After the food was placed for some time, it gradually took off and gave off a bad smell. The exhibition environment and the audience based on considerations, placed in a glass container of fruits and vegetables has been replaced several times, so the artist wanted to show the food through a long time until the rotten, actually was suspended.
"Basic education"
"Basic education" is a work of the Cold War era to create the work of the device works. The reconstruction by shovel, scaffolding, work clothes, shoes, gloves and posters etc.. The real scene is intended to revive a concern, which is led by the reappearance of the mental tendency that has been thought of as a complete end.
"Materialist", 2001-2005
"Materialist" is a group composed of 12 workers, peasants and soldiers in the form of publicity in the form of sculpture. According to Wang Guangyi's narrative, these posters reveal the subject of the people, their anger in the behavior of the idea of faith. Through these sculptures, artists try to shape these images as the general people. On the dialectical materialism, the "materialist" is the specific import to the Chinese history of the word, the word of the socialist ideology is summarized. The history of China emphasizes that the Chinese are a "thorough materialist", "a radical materialist who is fearless and can overcome this world, and can change the destiny of the people of our country". At the same time, artists in the works also saw another layer of meaning in art, are generally those with the conception of things called "objects", which in Chinese "materialist" has the same root. Wang Guangyi said: "there is a linguistic connection between the materialist and the materialist. I would like to use the "materialist" to construct a double implication, in order to make the viewers have a double cultural association."
Worker monument, 2001
"The initial plan is to" monument to workers in the field over 20 pieces of printed 20 years overseas Chinese town Shenzhen labor model and death by name of cement prefabricated panels, then cover glass, making each precast slab has the meaning of "offbeat" monument. But in the final display of "laborer monument", he directly copy and misappropriation of traditional workers Memorial Statue - "materialist", by placing the glass cabinet, which in Chinese memory is very familiar with the image of the visual effect is an alienation and alienation, and prompt renewed concern about "labor" and "labor" in the scene of a consumerist meaning.
"Cold war aesthetics", 2007-2008
Wang Guangyi believe that the international political scene is still subject to political conflict between the past and the ideology of the state, such as the Soviet Union and Chinese, Wang Guangyi created this series of works in 2007, through these works, the artist to analysis of the impact of the cold war posters on the psychological level. "Cold war aesthetics" is a propaganda device works painted by video, sculpture, 1970s during the cold war and by these posters inspired by the paintings of images drawn by these Chinese government manual to guide all the residents in the face of a nuclear attack when it should be how to respond. The scene is all about the national defense system in 1970s, in order to guide the people should in the face of war, nuclear war, chemical biological warfare should be how to protect themselves, this is the training of artists involved in the memories of childhood. Through the reconstruction of the memory of this event, the device invites the audience to face the fact that the era of the cold war to make the audience to revisit the atmosphere and thought. Wang Guangyi left the audience with these modern influences on the moment, and let them think about it.

"Temperature", 2010-2011
"Temperature" is a set of 40 groups, a total of 1920 components of the device works. These temperatures, as a device for multiple metaphors, reveal the current "temperature" of the world's different regions ". Thermodynamic significance however this device does not aim to describe the actual temperature on, but the political climate - local residents experience tension and ease -- which are and where they are related to political and social environment.
"New religion", 2011
The "new religion" series is a series of great political (Lenin, Stalin, Mao Zedong), religion (Christ), the political and religious leaders (John 23) as the main body of the oil painting works, as well as those in the thought still have an impact on philosophers today (Marx and Engels). Wang Guangyi put these pictures to the negative way of treatment. Although the artist uses the traditional painting techniques in these works, but these images provide referent in terms of directly breaking the audience for these pictures has thus opened a new idea, the possible explanation of these pictures. The numbers on the canvas, as well as the number of stamps and the drip drip, provide the same effect. Through this series of works, Wang Guangyi conducted a self questioning in ordinary people's great Utopia: the fascination with humans have, and why everyone needs to find a place for their faith in the image.
"Holy", 2012
"Holy" with 600 pieces on the linoleum cloth stack up cube shape (10 x 1.2 x 0.8 meters). The linoleum metaphor used to write ancient scrolls, in ancient times, will use a stylus in the wax slices on the lettering. On the linoleum cloth piled up to form a continuous layer, suggesting that the accumulation of knowledge obtained by writing time. These stacks of sheets have become the world's picture, in which the artist has given life to the richness of the objects in their stacks and mixing. Therefore, also touched the metaphysical boundaries, in this limit, the "Saint" represents a reflection and exchange in the world, rather than a world full of conflicts.
"Free things", 2012
"Free" is a piece of a sack filled with rice bags stacked around the hall of a similar funnel shaped device works. The origin of this device is the Wang Guangyi youth memory; he was in the countryside when I had worked in the grain depot. These bags in this device works more attractive than their COSCO in grain depot, which goes beyond the "young artist thing" contained in the prompt. In this device, which was carried out in the Beijing Museum of art in 2012, the grains of grain in these sacks can be known by the smell of them. In the "thing in itself", Wang Guangyi gave a picture: in form and experience, is unknown -- which it is called by Kant himself (noumena) what is the thing in itself (thing-in-itself).