Included in the exhibition was Qayyum Chowdhury's painting of nature's glory with the vast turquoise, blue and mauve sky, the green expanse of leafy trees, and the swirls of grassy roads, intermingling with the pale blue waterways. Murtaja Baseer's woman with a flower, had the subject in a white sari with a blue and beige anchal, looking on at the viewer, standing against a vast peacock blue backdrop. The woman's face spoke of satisfaction with life. Farida Zaman's painting of boats and fishermen's nets, presented in simplified forms, was another superb creation with swirls of blue. Also predominating in shades of blue was Samarjit Roy Chowdhury's abstract work, with swirls and splashes of shapes that appeared like some heaping of uncut gems. Beige, burnt amber and gray set off the magnificent blue range of turquoise blue.

There was Chandra Shekhar Dey's doorway with a regal line of motifs, in the form of eagles, swan wings and profiles of royal couples. The motifs were seen in an arch and in a bar at the top and bottom of the work. Geometrical designs lined the other two ends, while the main body contained some semi-abstract forms. There was Abdus Razzaque's fiercely individualistic work, with rectangles, triangles, lines and splashes of blue, green, black and browns. In contrast was Sheikh Afzal's realistic representation of a young boy sitting on the doorsteps of a white-washed house. It was heartening to find an artist revelling in realism, when most other artists glorified in the modern approaches.

Jamal Ahmed's doves appeared radiant and contented on their perch, as they appeared bathed in shades of blue and green, with a touch of vermilion to offset the muted colours. Mahmudul Haque had his bars and crosses against a muddy red setting and a massive splash of pale ochre to the left forefront. His play of textures in black, yellow and green was admirable indeed. Mystery entered the depiction of women draped in brown hooded robes as blue and white cranes flew overhead in the blue sky in Nazlee Laila Mansur's work. Another mind-blowing creation was the indigo and white piece by Dilara Begum Jolly, that brought in cranes rearing their heads, along with a melange of calligraphy.

Syed Jahangir had faces etched in red on yellow-ochre, set on a frame of black. Abdus Shakoor Shah had a woman's portrait in his typical folk art representation, with calligraphy in black to offset the work in ink blue, jet black, emerald green and brown. Clumps of tree tops with simple black trunks, with more black and blue flecks at the back were included in a landscape by Rafiqun Nabi. Nasreen Begum's fascination for cacti and mud-hut fronts were quite apparent in her painting with pristine shades of blue and gray. Nisar Hossain's forest by night, with the bare sections of the trunks and roots was intriguing indeed. So was Hashi Chakraborty's flowers and leaves with their lyrical lines.

US Ambassador Harry K. Thomas in his inaugural speech said that Bangladesh art needs patronage. Like in America, Gallery Kaya can contribute to promote art among children in Bangladesh too, said Harry K Thomas. Professor Murtaja Baseer and reputed artist Monirul Islam, present at the function, had high praise for the standard of work on display. Younger artists like Kanak Chanpa Chakma and Mohammed Eunus, came away contented with the exhibition, going by their remarks.