Twenty-four hours before Art Basel’s invitation-only opening on Tuesday, scores of the art elite gathered, sheeplike, on a wooden ramp at a related event in a cavernous installation space. Word had spread that there was something exciting to see: a dusty old train car whose windows flashed black-and-white images of troubled moments from China’s past.

The work they were waiting patiently in line to view was “Staring Into Amnesia,” an installation by Qiu Anxiong, a 36-year-old artist from Shanghai.

Christian Filieri for The New York Times, “At Art Basel, Old Names and Few Showstoppers”

Two of the biggest and most dramatic works in Unlimited came from Chinese galleries. Qiu Anxiong’s Staring into Amnesia (2007), presented by Beijing’s Boers-Li Gallery, is a giant Chinese train car whose windows contain projections of shadow theater and black-and-white films. Boers-Li was one of several Chinese spaces making their Basel debut.
David Grosz for Artinfo, “Come for the Art, Stay for the Sales”

Commentators and critics have lamented the run of the mill roster of exhibited artists, but also have, in the same breadth, celebrated the installation work by Chinese artist, Qiu Anxiong. Fair goers have been lining up to view the artist’s work, “Staring Into Amnesia,” which saw Beijing-based Boers-Li Gallery ship an antique train car from China to Switzerland. The installation, shown previously in Beijing, is being tauted as one of the few “discoveries” at the fair.

RedBox Review, “Qiu Anxiong Shines at Art Basel”

I read in the New York Times that during last week's Art Basel, the world's most prestigious contemporary art fair, long lines of spectators formed to climb aboard the railroad car of Qiu Anxiong's "Staring Into Amnesia." It was an instant hit with the international audience. I hope it's only a matter of time before we will have a chance to see this important artwork here in the United States. I start to salivate at the very thought of this railroad car on display, let's say in the cavernous space of MOCA's Geffen Contemporary.
Edward Goldman for Air Talk,“Record Prices for Art and Crude Oil”