Established in New York in 2000, Chambers Fine Art was one of the first galleries to specialize in contemporary Chinese art in the United States. From the beginning its focus was not on the group of oil painters who largely catered to a western market but to the rising generation of artists who utilized video, photography, performance and conceptual approaches in their exploration of life in China today. Among the prominent artists associated with Chambers Fine Art should be mentioned Ai Weiwei, Wang Jianwei, Lu Shengzhong and Qiu Zhijie who came to prominence in the 1990s and younger artists such as Zheng Guogu, Wu Jian’an and Shi Jinsong.

From the beginning Chambers Fine Art believed that it was important to document the work of this rising generation of artists. To this end it worked with leading scholars in the field such as Wu Hung, well known as a curator in numerous biennial exhibitions (Shanghai, Gwangju etc.) and Robert Harrist (Jane and Leopold Swergold Professor of Chinese Art History, Columbia University) who has recently completed the introduction for the forthcoming exhibition Opposites Attract: Lu Shengzhong's "Square Earth Round Heaven"). The catalogues are generally designed by the artists.

After seven years in New York, Chambers Fine Art opened a gallery in the Cao Changdi district of Beijing. Designed by Ai Weiwei, the new space enables the gallery to continue working with the mid-career artists that it has been supporting with considerable success while identifying the next generation of artists. The outdoor space and roof of the gallery permit the installation of ambitious outdoor works by artists including Zheng Guogu, Song Dong & Yin Xiuzhen. The first exhibition Net: Reimagining Space, Time and Culture examined the relationship between many of the artists associated with the gallery in the first seven years while the second Blog It: New Wave of New Wave identified a younger generation of artists deeply affected by video and the Internet. Tan Dun’s Organic Music marks an important development in the composer’s development as a visual artist.

One of the greatest challenges in the last few years has been the rapid commercialization of the art world in China. By continuing its program of selecting Chinese artists that contribute to an international dialogue while remaining profoundly Chinese, by working closely with scholars and specialists in the field and by continuing its program of publishing significant catalogs and limited editions (Rong Rong's East Village), the gallery expects to make a significant contribution to the developing understanding and appreciation of contemporary Chinese art.