The issues, such as cultural identity and transformation, have been the crucial topics of the studies of contemporary Taiwanese art. The rule of the Japanese end in 1945 when Japan was defeated in the second Sino-Japanese War, which not only brought an end to that country’s colonial rule over Taiwan, but also ended the Taiwan fine arts movement as driven by the Japanese. The period after 1949 marked an enormous transformation in the arts of the island; this change was not an intrinsic one, but was rather the result of political transition. After the Nationalist government lost the Mainland and withdrew to Taiwan in 1949, anti-Japanese and anti-Communist sentiment prevailed in this island. The government’s objective such as eradicating the ideological reforms waged by the Japanese government exerted a great influence on the development of education and art in Taiwan. Culture and arts that were used to maintain the values, attitudes, and sense of reality from one generation to another and therefore were regarded as effective tools in influencing the people’s minds. The purpose of this paper is to investigate how the review committees of the Taiwan Provincial Fine Arts Exhibition, such as Huang Chun Pi and Fu Juan Fu, influenced the exhibition between 1950s and 1970s, and what kind of subject matters were most popular. This study will help us understand how an artist adjust himself to the new environment by employing particular subject matters or techniques, and give us a different perspective on the modern art history of Taiwan.