We would miss Jiang Qionger’s genius if we only saw her as an abstract painter, that is if we considered her as the heir of a pictorial tradition born from the Western mode of thinking which can only comprehend the world through dual oppositions: figurative/abstract, ancient/modern, yes/no. The daughter of a China which has thrown itself headlong into the adventure of development, she is indeed perfectly familiar with our modernity whose codes she became acquainted with during a two-year stay in France and whose icons she regularly mixes with today. We would then conclude, indulging in the short-sighted ideas of fashion rather than genuine analysis, that Jiang Qionger is an example of bi-culturalism, an artistic and conceptual bridge between East and West.