Considering how the old categories of style developed by traditional art history may be irrelevant to the understanding of the bewildering variety of art practices of today, it seemed important to adopt a mode of classification based on a relational model called a Piaget group, a model that can help make better sense of the simultaneous presence of art forms that might seem entirely antithetical in today’s Hong Kong. This presentation, based on the research undertaken to write Hong Kong Soft Power – Art Practices in the Special Administrative Region, 2005-2014 (Hong Kong: The Chinese University Press, 2018) – intends therefore to understand the relationship of such different art forms as calligraphy and dialogic aesthetics in the SAR, a relationship that cannot be understood without relating it to similar practices in Mainland China.