Today, due to Shanghai's openness and inclusiveness, we have the opportunity to see many works by Western masters. In the past decade, there has been a steady stream of art exhibitions introduced from the West, reaching its peak this year. However, as we become more familiar and familiar with many Western masters, how much do we know about China's own art masters? To a certain extent, it can be said that the general public in China's understanding of domestic art masters mainly comes from auction prices. For those modern and contemporary art masters and artists who bid exorbitant prices, news media usually report extensively, and some artists who are sought after in the market gain widespread social recognition. Here, the commercial and newsworthy aspects of art play a decisive role. The common people's perception of art is that whoever has a high price or is famous will paint well, which is a serious misleading phenomenon. In fact, the commercial value of art is temporary and will fluctuate and fluctuate greatly over time, which does not represent its artistic and academic value. Similarly, the news effect of art does not represent its historical significance and social value. Often, it is just a brief artistic phenomenon, and the commercial value and news effect of art cannot withstand the test of history. In the Western art world, the value of art works and artists relies more on the evaluation criteria system of art museums. From the perspective of art history, art works are selected and evaluated, thereby establishing the classic consciousness and academic authority of art museums. This is an important public function and responsibility of modern art museums. The prices in the Western art market are usually more credible because art galleries have the basic control over the discourse and authority of art. The art museum relies on its academic nature to establish its discourse power and authority, which is constructed through the integration of research, collection, exhibition, and education. Specifically, the first step is to conduct academic research on some art masters, explore academic trends and phenomena in art, including the development and debate of certain academic topics, in order to sort out and explore the clues and context of art development. Secondly, by collecting works that have left important marks in the history of art, in-depth and lasting thematic research on art works can be carried out. This not only lays a solid foundation for research-oriented exhibitions, but also accumulates richer materials for subsequent historical constructions on a larger scale. Thirdly, effectively transforming the results of academic research into exhibitions for sharing among all sectors of society and the public is a very important social function of modern art museums. Fourthly, art museums rely on exhibitions to carry out rich and colorful public education activities such as seminars, lectures, dialogues, guides, art education classrooms, and parent-child activities, gradually establishing their influence and professional discourse power among the public, and guiding the healthy cycle and development of the entire art ecosystem. However, the reality is that the history of art museums in China is relatively short. In the 20th century, Chinese society experienced various wars and disasters, and the destruction and loss of artistic works and literature were very severe. In addition to these objective factors, there is also a lack of subjective consciousness and a shortage of collection funds, which have led to a general lack of systematic collection, sorting, and display in domestic art museums. Many collections of high-quality artworks