Technology has changed the way we live, signaled by the 2G bulkier cell phone in 1996, when Kok Yew Puah made this prophetic work. The Internet is incorporated into 4G today and with Huawei’s 5G, unimaginable strides will be made in communication and fact-processing. In Tradition & Change, the masks both represent both, with the one on the third person fused onto his face, usurping his identity and character. The one in the middle, naked for his jelutong shorts, has his hands covering his face in fear and shame. Puah’s works are comment on socio-cultural and environmental issues. The critic-artist Redza Piyadasa noted about Puah: “His art is about today. There is an authenticity about the man and his art. There is a contemporaneity in his art.” Kok Yew Puah started as an immaculate printmaker known for his hard-edged Pop abstracts using silkscreen after returning from the Victorian College of the Arts, Melbourne, Australia, from 1966 to 1972 (diplomas in Painting and Printmaking). He held a solo at the Samat Gallery in 1973, but it was his second, his first being in Brisbane, in Gallery III, in 1972. Then he disappeared to concentrate on his family’s food business in Klang, until his comeback in the solo, Kok Yew Puah: 1985-1993, but he had switched to representational art, having been inspired by David Hockney. It was followed by another solo, Klang and Beyond in 1997, and a posthumous tribute exhibition in 2004-2005. In 1994, he won 2nd Prize in the Malaysian-stage of the Philip Morris Asean Art Awards.