题目内容：

    In November 2016, two influential art curators（艺术策展人）threw a memorable party in Shanghai. The hosts — Linyao Kiki Liu, and Klaus Biesenbach, — picked an unusual place for the great event: a repaired underground bomb shelter. That night it was filled mostly with an oversea crowd that had flown in to celebrate the art event. Shanghai seemed determined to present itself as a new centre of the art world.

Chinese contemporary art was actually born in Beijing. In 1979, soon after the country began rolling out economic reforms, a small group of artists held an unofficial exhibition, which lasted just two days but the seed for China’s grass roots arts movement was sown. By the early 2000s the 798 arts district in the north-east of the city was becoming a vital destination for international dealers and curators. Now Shanghai is competing with Beijing to become China’s cultural capital.

Shanghai’s initial embrace of art was restricted. Beginning in the early 2000s, a few local galleries supported a scattering of artists. There were no more than a handful of museums. The prospect of hosting Expo 2010 helped motivate Shanghai’s local government to encourage property developers to launch an ambitious urban-regeneration programme that would reframe the city as a cultural hub. At the heart of this renewal was West Bund, a 9.4km belt of Shanghai riverside, whose old industrial buildings and former airport were to be repurposed under the declaration “Culture First, Industry Oriented”.

In 2014 two landmark contemporary-art museums opened there — the Long Museum and Yuz Museum. The same year also saw the introduction of Le Freeport West Bund, a warehouse built to help the tax-free import, export and storage of artworks, a prime example of the city’s market-friendliness.

The inflow of collectors triggered by the series of events presented an important opportunity for galleries to hold exhibitions, unveil new spaces and host parties. Much of the activity took place in the newest art facilities — West Bund and the Power Station of Art.

All the glamour, though, cannot mask the concern felt by some artists and gallerists in Shanghai. Does projecting the city as such a high-end, outward-looking hub risk endangering some of other important corners of the city? Rapid gentrification（中产阶级化）is already forcing many small businesses, like the family-run noodle joints and the bicycle-repair shops, to close down. And indeed,  the art party, Shelter, is due to close after the Culture Bureau refused to renew its lease（租约）.

This upgrading of the city is already affecting the arts sector. Rising rents — a direct outcome of urban redevelopment—have made the production of art in Shanghai difficult, forcing artists to the city’s fringes, and beyond. It risks crushing the kind of grass roots, artist-led initiatives on which so much of China’s contemporary art was founded. The shift also affects galleries. Three of the city’s most important names — MadeIn Gallery, Aike Dellarco and ShanghART — have relocated this year from Shanghai’s original art hub, M50, to West Bund. Their departure will mean fewer visitors to M50’s remaining lower-tier, entry-level galleries for whom a move to West Bund is out of the question. If M50 struggles, that may affect new artists seeking representation in the city.

The cultural transformation of Shanghai has been astonishing. But it risks threatening the kind of complex and sustainable engagement that a lively arts sector needs. If local government can encourage affordable spaces for young artists and help promote a climate where artists and art professionals can prosper, then this most dynamic of cities might truly have it all.

1.“Linyao Kiki Liu, and Klaus Biesenbach” are mentioned at the beginning of the passage to show that _____.

A.Shanghai has been racing to become China’s cultural capital.

B.Shanghai encourages property developers to build museums.

C.Shanghai is appealing to more celebrities（名人）to go sight-seeing.

D.Shanghai has beaten Beijing in holding art exhibitions.

2.The underlined phrase “roll out” in Paragraph 2 has the closest meaning to the one in _____.

A.“We’ll give her some VIP treatment and roll out the red carpet”.

B.“He let a couple of golden apples roll out from under the basket”.

C.“Then it was time to roll out of bed and line up for breakfast”.

D.“We have rolled out an improvement initiative across our organization”.

3.According to the author’s introduction, we can learn that _____.

A.the 798 arts district in Shanghai has already attracted many international dealers.

B.Shanghai has adopted preferential tax policies in West Bund to inspire cultural industry.

C.the prospect of contemporary art in Shanghai is greatly determined by Expo 2010.

D.more art enthusiasts will go and appreciate high quality art exhibitions in M50.

4.The upgrading of Shanghai may have negative effects on the following corners EXCEPT _____.

A.local galleries B.new artists

C.Culture Bureau D.bicycle-repair shops

5.What is the author’s attitude towards contemporary art in Shanghai?

A.Critical. B.Optimistic.

C.Subjective. D.Indifferent.

6.In which section of a magazine might the article appear?

A.Global business. B.Finance and economics.

C.Books and arts. D.The world this week.