This article is an analysis of cotemporary Chinese art by using “abject” and Tai-Quan Tian’s and Ke Hu’s products whose motifs are mainly about the images of Red Guards as symbols of the political mass movement in Cultural Revolution. According to what the writer has found out, the border between the shape of an “abject” image and other object is not clear, and I can my inquiry about the collision of the meaning of the segmentation line. At the same time, the literature shaped image appearing as contemporary Chinese art is a single mark that reveals the Chinese contemporary art; also it exposes a symbol of the Chinese people’s trauma. In addition, the reason why the contemporary Chinese art reenacted the Red Guards is because the cultural/ aesthetical concept of the same age interlocks with each other. Therefore, the color of the same age is very deep. Using contemporaneous cultural criticism analysis, based on the definite object this detailed research is a reason about the conflict between the abstract aspect and the definite object. In conclusion, the writer would like to state about the language of molding and art. The lengthening of the language of molding’s border line is how to expose the “abject” brought up in the beginning of this article, and it also exposes the inability and the limitation of the existing reenacting system.