There were a lot of people at the International Expo Center on July 20, 2014, the last day of the Xinjiang Art Biennale. The massive complex next to a giant Buddha and Hilton hotel on the northeast side of the city echoed with the sounds of an original score by Philip Glass called “Encounter on the Silk Road.” The exhibition was heavy on spectacle. Giant video screens, paintings and sculptures drew the largely Han crowd into massive spaces lit by natural light. Smartphone cameras were often raised against the intensity of actually looking at the mesmerizing objects that called the viewer to contemplate the way contemporary Xinjiang is “a land of many colors.” True to this theme, many of the pieces on display were both diverse and provocative. Although there was a smattering of the usual pantheon of Chinese avant garde works on display and much of the video art seemed to be from Bulgaria and Italy, many of the pieces were specific to the region. As the deputy director of the Xinjiang Ministry of …