One of the most prominent features of Iranian contemporary art is the unbalanced development as the result of years of extremism. Excessive attention to the presentative and exhibitional aspects has left many of the things that are essential to the structuring of any creative and thought-based phenomenon weak and neglected. The small geography of fundamental matters such as research, education, history and art philosophy, authorship, critique, etc., in contrast to the wide range of showing works, has caused us to only witness the growing growth of the possibility of presenting works. The emergence of galleries and small or large events in the last decade shows the disproportionate fatness of presenting sections in comparison with the spaces for thinking, studying and doing research. The artwork which shall move in the context of social changes and play its role as a social constructor is caught up in formalism, repetition, imitation, sick economy, and pretense with no thought and a small repetitive circle of audiences in the corners of galleries.
Obviously, there will remain no room for thinking, reading, seeing and writing in the middle of the stunning rhythm of so many exhibitions and events and artists standing in the line to present. In addition to experience and practical training, Iranian artist needs to reduce the constant presence and enthusiasm for exhibiting, in the favor of contemplation, studying theory and learning.