Visitors at NAG viewing Ahmad Fuad's installation 'Mak Bapak Borek, Anak Cucu Cicit Pun Rintik (2016-2018)' on Feb 16. The fibreglass pigs, which were removed on Feb 4 by NAG, have been restored to the art piece. Photo: Courtesy of a reader
The censorship saga and public standoff between the National Art Gallery (NAG) and Malaysian contemporary artist Ahmad Fuad Osman surrounding four artworks that were taken down from his exhibition At The End Of The Day Even Art Is Not Important (1990-2019) finally came to a conclusion earlier today.
The national art institution, in a rare instance of backpedaling, reinstated all four works this morning. The works were taken down on Feb 4, allegedly for being too political and obscene. That decision to censor the works led to a public outcry, with local and international artist communities, collectors and patrons, and the media rallying behind Ahmad Fuad to get his artworks returned to the show.
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Ahmad Fuad Osman's reinstated artworks at NAG
Visitors at NAG viewing Ahmad Fuad's installation 'Mak Bapak Borek, Anak Cucu Cicit Pun Rintik (2016-2018)' on Feb 16. The fibreglass pigs, which were removed on Feb 4 by NAG, have been restored to the art piece. Photo: Courtesy of a reader
National Art Gallery staff putting up a work titled 'Dreaming Of Being A Somebody Afraid Of Being A Nobody' (2019) on Feb 16. Photo: NAG
National Art Gallery staff carrying out work to reinstate Ahmad Fuad Osman's artworks on Feb 16 afternoon. Photo: NAG
Ahmad Fuad Osman's 'Missing' posters of Datuk Seri Anwar Ibrahim seen at his exhibition 'At The End Of The Day Even Art Is Not Important (1990-2019)' exhibition at NAG on Feb 16. Photo: NAG
Ahmad Fuad's oil painting 'Imitating The Mountain' (2004) is also back up on the wall at his 'At The End Of The Day Even Art Is Not Important (1990-2019)' exhibition at NAG. Photo: Courtesy of a reader
