The back shown is purportedly that of Sultan Hamengkubuwono IX, otherwise known as No. 9, then only four (Page 107, Nadiah Bamadhaj Skira/RK Fine Art, 2019). Nadiah Bamadhaj used her son, who was around the same age then, to pose for the portrait. The boy was clinging to the kraton pillar as he was taken away by Dutch families. Nadiah, who is based in Indonesia, is commenting on the concept of power, or wahyu. As she intoned about her work: “My role is to document my personal and political history.” Hamengkubuwono IX ruled over Yogyakarta as sultan and governor when it was redesignated a special district, and played a major role in Indonesia’s independence movement. Nadiah Bamadhaj won the Juror’s Choice award in the Philip Morris Asean Art Awards in 2001. She was a resident artist at Rimbun Dahan in 2000-2001. She was educated at the University of Canterbury in Christchurch, graduating with a BFA majoring in Sculpture and Sociology in 1992. She was awarded the Nippon Foundation’s Asian Public Intellectual Fellowship in 2002-2003, with a follow-up Public Intellectual grant in 2004. She had group exhibitions in Norway, Taiwan, United States, Lithuania, Indonesia, Singapore, China, Lebanon, South Korea, Thailand, Japan, the Philippines and England. She became a full time artist in 2000, and had her first solo, 1965 Rebuilding Its Monuments at Galeri Petronas in 2001, Surveillance at Valentine Willie FA in 2008; Keseragaman at Richard Koh FA in KL in 2012, and Poised for Degradation and Descent at its Singapore outlet in 2014 and 2016 respectively. She had two solos in Indonesia, namely ‘enamlima sekarang’ in Yogyakarta in 2003 and Jakarta in 2004. In 2018, she had a solo, Ravaged, at the Chamber Fine Art in New York.