As an ‘unofficial’ artist, Li Shan joined the underground exhibition of the painting society in 1974 and, later on, in 1979 a less clandestine, more openly public exhibition as a relatively relaxed political atmosphere began to emerge after the Cultural Revolution. It was a defining moment in which Li Shan and her colleagues could finally present themselves as an artists’ collective. Also during this period, Li Shan focused on subject matters that would be carried through to her more current works, such as courtyards, pagodas, city streets and country roads, and aspects of architecture.

李珊以“非官方”艺术家的身份参加了“无名画会”在1974年的地下展览及1979年相对开放的公共展览。这是李珊及其同侪在文革结束后相对轻松的政治气氛中所经历的转机性事件，最终能够以艺术团体的名义起身。 在这一时期创作中，艺术家锁定在庭院、宝塔、街道、公路及其他建筑表现的题材上，这些题材也贯穿于其近期创作中。