Geometrical shapes in the form of rectangles, circles and semicircles presented a portrait of a standing woman in Tajuddin Ahmed's Madonna in oil on paper. Equally avant-garde was Iftekhar Uddin Ahmed's Restless Journey that brought in a broken ladder, standing against a window. There was very little colour or lines used in the painting and yet it was alive with suggestions and feelings. A fascinating landscape with tall trees and a mass of leaves in mustard and black was found in Fokhrul Islam's Image-3, oil on paper. The forefront had sweeps of black and gray, with touches of mustard and white and gold tree leaves. A sense of serenity overwhelmed the viewer.

Bars of mauve, in different shades and angles, were seen in The Challanged, a woodcut by Selina Cowdhury Mili. In an inset could be seen a figure of a boy, on his way home from fishing. The print had a neat composition with a minimum of colours. Images of envelopes and postmarks were scattered on the canvas in Nazrul Islam Aghrani's Massage. Buoyant shades of aquamarine, burnt-sienna, jade green and orange splashes filled the canvas. Sweeps of colours, taken from nature were to be seen in Shamsul Islam Azad's watercolour, Mind of nature. Trees, roads, hills and the moon were all included in the sweeps of mauve and royal blue, along with streams of lemon yellow and pearly white swirls.

Designs seen within designs, lines enlacing more lines and dots circling more flecks in green, blue, red, purple and yellow were seen in Rafi Haque's woodcut, Homage to Picasso. The print basically contained two large bluish purple rectangles, with detailed designs in the inset. A melange of faces and figures were to be seen in Fahmida Akhter Kakoli's Remembrance. This acrylic on paper brought in sunny images from childhood days and bore splashes of orange, red, yellow, blue and green. Rabeka Sultana Moly's Face, in acrylic on paper, brought in the face of a woman in a blue sari, with a blue bird sitting beside her. The face was triangular while the eyes were narrow and somewhat slanted. Just as the sari was dotted and streaked with white so was the bird at the side.

Sk. Manir Uddin's Relay race, in acrylic, brought in intriguing running figures in blue and brown. Mofidul Alam Khan's Border in wood-relief had human figures set against the sun's rays. This was in beige and gray. Bipul Shah's Image in Wreckage, oil on paper, had an old wrecked machine symbolising human life. Mostafa Kamal's Obsessed Form, mixed media, brought in scattered forms seen against a human face.

The exhibition was a good collection of the avant-garde work in art--and well worth a visit by the art lover.