Since the establishment of HKBU Academy of Visual Arts in 2005, some professors who teach design or contemporary-art subjects, such as Peter Benz, Choi Yan-chi and Leung Mee-ping, often warn off their art students in this way: “There won’t be any prominent local artists being fostered in Hong Kong anymore. To cope with the needs of the contemporary market, it is a must to create conceptual arts because drawing and painting can only be defined as traditional fine arts!” The BU authority officially depreciates the importance of drawing and painting. It produces an effect of nuisance as it disorders the value judgments within the Hong Kong art scene. It makes people from the civic misunderstand that being a painter can no longer survive with good prospects due to the change of epoch. But, if you look at the example of Billy Childish and Charles Thomson’s promotion of “Stuckism” campaign in the UK, it is vigorous enough to overthrow the disordered theories of BU authority. It can be understood that, oil painting with Lu Jiuyuan’s “Heart Studies” as guiding code can also be an important part of contemporary arts. For the leaders who are in charge of the M+ curatorships, even though 80 per cent of the exhibitions organized by them aim at discussing the issue of “visual cultures”, Uli Sigg still purchases a large amount of oil paintings for the administration of art collections. This proves that the development of WKCD is not based on Prof. Roland Chin Tai-hong’s ideal at all.