2005 – Selected to enter the Mali Oil Painting National Exhibition in China, and won an Excellency Award;  

2006 – Honored in the National Exhibition of Art Academies and Institutes of China;                                    

2008 – Included in the Artists Collective Exhibition in Tianjin, China;                                                                   

2008 – Sold one painting at “Asian Contemporary and Modern Art Auction” in Singapore.

                                                                                                                                         
Cui MingFei’s usual theme is women figures, city girls in particular, and almost all young, just like the artist himself. They are of the “one child” generation in China, and now turn out to be the most dynamic demographic group in contemporary Chinese society. They grew up in “sugar cans”, as judged by their parents (meanings they’ve never been through the many nationwide disasters – both social and natural), and more importantly, they grew up during the most critical changing time in China’s long history. They have a lot of curiosity and enthusiasm in their young hearts. They embrace the fast-paced social changes. They are open to all new ideas, trends, and fashion. They consider themselves knowing more and better about everything than the older generation. They also show their confidence and assertiveness excessively – much more than they really have. And I see all these in Cui MingFei’s work – through the postures of the girls in his “white series”, the gaze of the girls in the black background paintings. In Morning Sun for instance, side by side with an obviously bored/worn-out Caucasian guy, stands this girl who gives you such an opposite impression: refreshing, naturally easy-going, and beautiful. But can’t you also see, in the shadow under her raised arm, a thin cloud of uncertainty /confusion crossing her face? Or like in the painting Looking, you look at the girl in a simple black background, you see the “metropolitan fashion”, that is not much different from those in Seoul or New York; she is looking up for something with a determined expression in her eyes, but at the same time, through the same beautiful eyes, you also get an obvious feeling of her being lost somewhere. That’s what I like Cui MingFei’s work the most – there’s always something beyond the surface, and it doesn’t answer “what” or “where” or “why” – so it’s left to you, the viewer, to guess, to make up, to play with, in your own imagination.