Wenda Gu is a Contemporary artist whom many historians recognize as the father of conceptual Chinese ink painting. He was born in Shanghai, China in 1955 and spent his childhood and adolescence during the Great Proletarian Cultural Revolution (GPCR), surrounded by propaganda artworks that the dictator Mao Zedong’s government promoted. After the GPCR ended, Gu received his Master’s degree in Fine Arts from the China Academy of Art with the focus on Traditional Chinese landscape paintings. He moved to the United States in 1987 and started creating art installations entirely made of human body waste products, including human hair. Gu’s art installation series United Nations, which is entirely made of human hair, is one of the major artworks he is known for. Among his twenty-two installations in the United Nations, there are two installation works titled the China Monument. Those China Monument installations refer to art and its production in the GPCR period both visually and conceptually. However, the content of the China Monument installations is the opposite from the content of artworks created during the GPCR. In the China Monument installations, Gu expresses his image of an egalitarian universal utopia, where humans coexist in harmony regardless of their political beliefs. In contrast, many of the artworks produced during GPCR carried a message for Chinese citizens to fight against their “class-enemies,” which meant any person who did not advocate Mao’s leftist ideologies. These enemies included the foreign government officials and armies, and any Chinese citizens who were suspected of having different political beliefs than Mao’s. During the GPCR period, Chinese government used artworks to promote Mao’s Communist ideologies. Many of those visual artworks were accusatory towards Mao’s political opponents. Those artworks were produced to encourage Chinese citizens to participate in Mao’s political revolution by fighting against the class-enemies. Referring to Mao’s political practices in the China Monuments, Gu expresses his disagreement with Mao’s policy of discriminating people based on their political beliefs. Although Gu supports the Communist ideology of eliminating social class divisions, which will be discussed later, he does not support the view that Chinese government promoted, in which mankind can be divided either into Mao’s political allies or enemies and people of different political beliefs should fight against each other. This paper analyzes Wenda Gu’s United Nations, China Monument installations to show Gu’s criticism toward Chinese government for having propagated creating divisions between the citizens through its use of visual art during the GPCR period. First, this paper will introduce the United Nations series and the artist’s aim of uniting humanity with his use of human hair in this art series. Second, a general introduction of the GPCR and artworks produced during that period will be provided to give a historical background, and Gu’s personal experience in the GPCR will also be discussed. Third, Gu’s earlier works right after the GPCR and their connections to his reaction to that period will be analyzed. Fourth, this paper will analyze United Nations, in more detail, focusing on the two China Monuments from that series. Fifth, both visual and conceptual references to GPCR in both China Monuments will be discussed. Sixth, by comparing China Monuments with the government’s propaganda artworks, this paper argues that China Monuments show the artist’s criticism toward the government which propagated creating divisions among Chinese citizens with the use of artworks. Gu expresses such criticism to Mao’s practice through his rejection of the contents, art styles, and the purpose of propaganda artworks produced during the GPCR period.