高式兄弟和他們的社會地位，作為國際形象證實了這樣壹個說法：在國家經濟像埃博拉病毒蔓延壹樣的迅速膨脹之時，基金經理用“掙來”的錢購買他們的昂貴藝術品，導致大多數西方藝術家變得越來越像障壁壹樣蠻橫粗俗。
Unlike the jaded factory art productions by artists such as Damien Hirst, the Gao brothers’ works possess a depth and emotional catalyst that is devoid in most of the efforts of western artists.
與 D·Hirst 等藝術家那種疲勞生產的藝術作品不同，高氏兄弟的工藝品有深度和感染力，在大多數西方藝術家的努力中往往缺乏這種元素。
Although rampantly cliché, art does require a torrent of emotions and a deep engagement with current happenings to produce anything of worth.
雖然是陳詞濫調，在創造任何有價值的藝術品的時候，藝術確實需要大量的激情和狂熱才會進行下去。
Many artists have lost the essential characteristic of being bound to the realities of daily life.
很多藝術家已經忘記了藝術的本質特征，那就是不超越日常生活的現實。
In similar fashion to the bloated economic markets of the 2000’s artists grew lazy and fell victim to avarice.
在21世紀膨脹的經濟市場相似的潮流中，藝術家也開始變得懶惰且自食其果。
Works streamed out of their studios at unprecedented levels as artists did little but sign their name on guaranteed paychecks while Pratt graduates worked feverishly.
當Pratt 的應屆生瘋狂地創作時，那些所謂的藝術家們什麽都沒付出卻理所應當地領取薪水。這時有人的工作室中前所未有地湧出大批大批的作品。