1990年代中后期是中国女性主义艺术的一个高潮时期，陈庆庆无疑是这个群体的代表之一。她创建了一种个人风格强烈的具有灵知主义风格的语言体系，其语言表现为一种举重若轻的气息，虽精巧却大气、气势逼人但很女性化。这不仅体现为一种灵性和情极而致的女性主义意志，还表现为一种充满穿透力的个人的语言想象。

陈庆庆的装置艺术创建了一个灵异世界，这个世界被假定在一个箱盒中，呈现出一幕幕混合着恐怖、美丽、鬼异而童话般的景象，比如一只小恐龙在逼近一个脸色惊恐的金发褐肤小女孩，金发碧眼的女孩脸恐龙身的一排天使挂在树梢上快乐地歌唱，一只小孩的手或者两条蛇从电视机壳洞孔伸出来，一棵小仙树插在一个绿色白衣娃娃的肚子上、一群小猪爬上天安门屋顶等。

本次展览是陈庆庆近20年创作最完整的一次体现。

The late 1900s witnessed the rise of Chinese feminist art and Chen Qingqing is certainly considered one of the leading representatives of this group. She establishes a powerful individual style that embodies a linguistic system of spiritual intuition, a language that can address heavy themes with a delicacy and lightness. This facility is an exquisite and imposing characteristic of the feminist language. Displaying a sense of internal spirituality and a pressing feminist determination, Qingqing possesses a powerful imaginative language.

Chen Qingqing's installation art establishes mysterious worlds, which occur within box-like forms, The scenes within are horrible, beautiful, ghastly, or even seem like a child's fantasy. For example, a small dinosaur presses up against a terrified and panic-stricken little, tan-skinned blond girl; a group of angels composed of blond-haired, blue-eyed girls with dinosaur bodies hang from a tree merrily singing; a small child's hand or two snakes stretch through holes in a hollowed television set; a small whimsical tree is stuck through the belly of a green-haired, child wearing a white coat; a small group of piglets crawl up towards the roof of a model of the Tiananmen gate, etc.

This Exhibition is a retrospective representation of Chen Qingqing’s works since the last 20 years.