Cultural export and exchange can be understood as a facilitator of cultural understanding which are shaping the perceptions national identities. Rapid social, economic and political transformation of China has led the country to become a leading force in the production and export of cultural products, with emphasis on its rich traditional heritage. This focus has led the country to lack international visibility of its contemporary culture, compared to other Asian countries. But a cultural movement of Chinese contemporary art, which originated in the end of the 70s became a global phenomenon. Chinese contemporary culture was frequently connected to its political engagement throughout the 80s and 90s but differentiated its work with the new millennium. When looking closer at the media it becomes clear though that this linkage of Chinas politics and Chinas contemporary art scene is still present leading the question answered in this paper, why the reception of the CCA is still being politicized? To answer this question a symbolic interactionist and postmodern approach has been adapted to look closer at the media distributed receptions and articles of Chinese contemporary art exhibitions. Furthermore has the adaption of Connolly’s identity theory and Halls encoding/decoding theory led to the conclusion that politics are linked to the contemporary art scene in order to ensure a normative and art hegemony.