The art installation comprises eight enclosed, nonmotorized treadmills, each with an American Pit Bull Terrier obtained from a provincial breeding and training institute for fighting dogs.
The article, previewing the upcoming exhibition "Art and China after 1989: Theater of the World," which contained about 150 works,[4] expressed concerns about a seven-minute video of the original installation of Dogs That Cannot Touch Each Other staged at a Beijing museum in 2003, sparking a swift public reaction.
[8] Responding to the controversy, the Guggenheim released a statement on September 21, acknowledging concerns and characterizing the artwork as "intentionally challenging and provocative," aiming to examine systems of power and control.
The two other works removed were Theater of the World by Huang Yong Ping, a structure with insects and lizards that may eat each other under warming lamps, and A Case Study of Transference by Xu Bing, a video featuring pigs stamped with characters copulating in front of a live audience.
"[1][2] Before the criticism started, curator Alexandra Munroe, who organized the exhibition, discussed the anticipated pushback in an interview with Artnet News' Andrew Goldstein.
Despite the historical difficulties, she mentioned the Guggenheim's decision to showcase the work, emphasizing its role in introducing visitors to a visceral realism present in other significant pieces within the exhibition.
[9] The Guggenheim's communication about the artwork's context was criticized for its vagueness, particularly as the exhibition aimed to showcase less-known Chinese conceptual art in the United States.
He introduces scholar Meiling Cheng's perspective, emphasizing the caution needed when applying Euro-American values to China due to radical socioeconomic differences.
Davis highlights the evolving attitudes towards animal welfare in China, particularly in urban areas, and places the controversial artwork within the significant rural-to-urban transformations during the exhibition's time frame, noting the cultural shifts that influenced recent Chinese art's focus on animal-based work.
Comstock also suggests that the artists might have questionable intentions, and he condemns any future attempts to subject sentient animals to similar treatment.
[10] Art history professor Stephen F. Eisenman, in a piece for ARTnews, dismissed the notion that freedom of expression was relevant to the controversy.
He expressed outrage at a well-regarded institution showcasing videotapes of artworks that feature "animal use, abuse, and torture.” Jessica Scott-Reid, writing for New York Daily News, rebuked the perceived privilege of art and artists.
They question the ethical implications of presenting such work, drawing parallels to scenarios involving human subjects, and encourage readers to voice their objections to the Guggenheim curator, Alexandra Munroe, whom they label as "out-of-touch.