The changes in the search for the “unknown artist” (from mouth-to-mouth promotion of the prize, to application via post, application via online form, preselection of candidates by nominators and finally to opening of the prize for all nationalities) reflect the tremendous changes within the social, political and economic landscape in China as well as art market developments, the establishment of galleries, museums and institutions etc., the use of new communication channels and, lately, the financial support of the prize by the M+ museum in Hong Kong. I think that the very “lack” of a written mission/vision allowed the CCAA to adapt itself to the changing conditions without having to amend its mission/vision every time. When I visited China last year, I presumed that Chinese people were not very flexible in their actions and opinions due to the many years of repression and adherence to strict rules. But I soon found out and experienced that this presumption is wrong. If need be, they show an amazing flexibility to adapt to new realities and situations. I think the CCAA is a good example for this Chinese attitude and allowed the CCAA to position itself in the art landscape. From a Western point of view, we would judge these changing attitudes as inconsistent; from a Chinese point of view, I belive, such changes are normal and reflect its cultural peculiarities.