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7. Much more than in Western galleries, these visitors tend to be young—and, says Mr Tinari, they “don’t have this accumulated austerity” in their approach to art. Many private contemporary-art galleries and museums in China are young too, and attitudes in and towards them are different; the Western etiquette of hushed tones and awed deference is absent. Although many visitors want to explore and learn, these are also places to hang out and have fun.田霏宇说与在西方的美术馆不一样，这些参观者往往都是年轻人，而且对参观艺术也没有那么“拮据”。在中国，很多私人当代美术馆和博物馆成立时间也比较短。艺术的展现和态度也不相同；西方那种参观美术馆要安静低声，敬畏艺术的理解不再了。尽管很多参观者来这些地方是探索和学习，但这些地方也是与朋友闲逛和娱乐的场所。8. These technological and demographic shifts are opening up old debates about the role and value of art. What is it for, diversion or edification—and who has the authority to say?科技手段和人口统计上的变迁引起了一个古老的争论：艺术的作用与价值。艺术到底是为了消遣还是熏陶或启迪，到底谁说的算？diversion 来自divert 使转向，绕道，是名词形式。divert 最初的含义是to turn in different directions-转向For centuries, museums, curators and collectors have judged what is enduring and what is schlock. They sought to interpret the intentions, influences and contexts of each piece.几个世纪以来，博物馆、策展人和收藏家来决定哪些展品能恒久，而哪些展品很低劣。他们希望能够诠释每一份作品的意图，印象和背景。 
On social media, that hierarchy is upended and scholarly exposition discarded. Here, says Mr Tinari, “everyone has a perspective, and that perspective has some degree of validity.”但是在社交媒体上，这一等级被打破了，学究式的展览被摒弃了。田霏宇说“每个人有自己的角度，而这种角度在某种程度上还成立。”9. Some internet celebrities seem to care about art for art’s sake. Ms Cao’s feed on Weibo, a microblogging service on which she has over 267,000 fans, is a mix of museum selfies and photos of the works.一些网络名人似乎更在乎艺术的本质。曹小姐的微博链接栏有超过26.7万粉丝。里面融合了博物馆自拍以及展品的照片。
She does not post lengthy captions about the artists or canvases, but strives to “take pictures that can really show the glamour and the beauty of the artwork”, and to dress in “harmony” with the exhibits.她不会大段发帖关于艺术家或者画布的内容，但会努力“拍摄能够真正展现艺术品魅力的照片”，并且还会穿上与展出能“和谐一致”的衣服。
But detractors of the wanghong trend argue that paintings and sculptures are being relegated to a mere backdrop for marketing. The art itself is receding from view.但是批评网红趋势的人认为画作和雕塑仅仅成了（这些网红）营销的背景。艺术本身并没有被人看到。
d10. Concern, or snobbery, about seriousness and expertise is not the only objection to the rise of wanghong art. Curators dislike it when KOLs paid to promote clothing or perfumes stage photoshoots in their museums.对严肃性和专业性的担忧或贬低不是某些人对网红艺术流行的唯一反对原因。策展人们也不喜欢KOL们在其美术馆进行服装或香水而进行的各种拍摄。A few are discouraging the practice, banning visitors from taking pictures with people in them, or asking KOLs to delete them when they do.有些艺术馆同意网红的这种行为，会禁止参观者拍摄有人物在内的照片或者要求已经拍照的KOL删除照片。11. But dissenters are in a shrinking minority. Mr Tinari says shows that prioritise photo opportunities are being put on “all over the place” (though not by UCCA, he insists). The curators of an exhibition of Man Ray’s photography at the M Woods museum in Beijing installed artificial grass and a tree as aids to posing.但是反对者的人数不多。田霏宇说专供拍照用的展览会标注“随便拍”（但他否认是UCCA曾这样做过）。木木美术曼雷摄影展的策展人为了方便人们摆拍还安装了人工草皮和假树。
The Fosun Foundation in Shanghai posted an article on WeChat, another app, encouraging visitors to exploit the interplay of light and shadow in certain rooms. The Museum of Art Pudong, also in Shanghai, has publicised the top selfie spots in and around the building.位于上海的复星基金会在其官方微信上写道，鼓励参观者来艺术馆的特定展区探索光与影的交织。同样位于上海的浦东美术馆把建筑内外的热门自拍点向参观者广而告之。12. In China and beyond, apps with hundreds of millions of users will increasingly shape the ways visual art is displayed and consumed—and ultimately, because artists want their work to be seen and bought, how it is created.在国内外，拥有数百万用户的应用软件将会视觉艺术的呈现和消费方式起到越来越大的塑造作用-最终会决定艺术的创造形式，因为艺术家希望自己的作品被人看到和购买。When Ms Cao promoted an exhibition of Raphael’s work in Beijing, the vast majority of comments remarked on her appearance rather than the art. Piggybackingon her post, the organisers promised that visitors to the show “may come across beautiful people like her”.当曹小姐推广拉斐尔的一场位于北京的展览时，很多人评价的是她的外表而非艺术本身。跟随其帖子，组织者向参观者承诺“来参观会遇到像曹小姐一样美丽的人。”
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