This article focuses on a set of aesthetic debates that took place in China in the late 1950s. By exploring the main arguments presented by different thinkers, particularly the writings of Zhu Guanqian and Li Zehou, this article demonstrates how the aesthetics took part in the ideological formation of the new socialist state. From the debates, we observe the tensions between the complexity of the material-political and the reductionism of the state ideology. We also recognize why and how aesthetics could be such an important site of political contestation in this young socialist country, and how the interactions between human senses and the material world are essential to arts universally. The dominant materialist aesthetics presented in the debate was less a theory of things than a theory of the social. This historical materialist approach might be useful as a social critique; however, when handled dogmatically, it not only rejects the autonomy of things, but also disallows art works to reflect the complex human interactions with the material world beyond economic power relations. We can find more sophisticated analysis in Zhu's aesthetic theory, which tries to incorporate the interactions between the subjects and the objects into materialism.