This essay examines how the younger generation of Chinese contemporary artists and collectives used the alternative exhibition sites outside of art museums and galleries in the 1990s, the decade known for the Government’s oppressive policies against experimental arts in China, particularly after the notorious China/Avant-garde in 1989 until Shanghai Biennial in 2000. It also pays special attention to the 1990s as popular culture and consumerism became rapidly expanded in China; subsequently, an array of marketplaces such as stores, restaurants, and shopping centers became appropriated as the sites for art exhibitions. New History 1993: Mass Consumption (1993) by the New History Group, the exhibition held at Mcdonald, Beijing, and Art For Sale (1999) led by Xu Zhen, will be closely examined as each representing the earlier and latter types of unconventional art exhibitions. The emphasis, thus, rests upon highlighting unique political, social, and cultural contexts in which alternative types of art exhibitions arose in China, distinct from its western counterparts. Furthermore, it also highlights creative solutions that Chinese performance, media, and installation artists had devised by using marketplaces in order to avoid censorships as well as to expand their audiences within Chinese society.