Three of them, like Raj Kumar Tilwalia, Savi Savarkar and Kaushal Sonkaria, tackle the question of caste head-on, for it is obvious a contemporary artistic expression cannot develop if our consciousness is imprisoned in the medieval shackles of caste. And with it, a contempt for the rural masses, tribal people, women and an animal existence for those trapped in this ideology is reflected in the works of Hara Kanta Baro, Meena Kumari, Mati Lal Kali and Rajeev Kumar respectively. Swapan Brahma addresses himself to the questions of the environment and the rural-urban divide. Without challenging caste, modern Indian art cannot emerge. Only once one has done that can one see oneself as an individual and an artist.

This search for theindividual within one is reflected in the work of Rakesh Jayant, Kulwardhan Gautam and Kirpal. And both these sets of artists are two sides of the same coin. If one does not challenge the animal categories of caste that tie one down to imagined biological distinctions, or treat women and dalits as less than even the sacred cow, one cannot become a person at par with anyone else in the world.

This naturally calls for an alternative imagery, one that challenges our reverential iconography of ritual art. It also calls for the representation of the human figure without the trappings of status and the mental and moral degradation heaped on the oppressed.

On the other hand, new symbols are called for to challenge and replace the old. These I do believe can only come out of the struggles of the oppressed. Therefore, such art cannot develop without the artists' links with these. To the extent these young artists empathise with the victims of archaic survivals in modern India, their imagery is fresh and appealing;but I do believe a deeper involvement in the constant struggle going on in our society to free people from caste and class oppression is called for among our young artists for a real breakthrough to occur.