China joined the ICOM in 1983. Joining such an international community of museological experts and scholars implied sharing the standards and founding principles, however if we consider the development and the status quo of the art museum system in China, it is possible to point out some contradictions and peculiarities. Since the early 1980s, following a renovation process of the entirety of Chinese national institutions, the museum system has been enjoying an unprecedented development. As well, a more general discourse on the cultural heritage of the country has increasingly gained a prominent position in the cultural policy agenda. As far as art museums are concerned, since the end of the 1990s, the country has been experiencing a rapid and unprecedented development as well, encompassing both the state-owned and private sector. However, today the proliferation of art museums appears to be more driven by the compulsion for a status symbol rather than pursuing a cultural mission. Therefore, a key question arises concerning the quality of these art institutions, their effective role in the promotion of art, and their cultural impact. This study aims to enrich the debate on museums of contemporary art, and intends to offer a parameter of sustainability in order to evaluate the Chinese art museum system.