Frank Sullivan, the pioneer shaper of Malayan art, wrote of Latiff Mohidin’s solo exhibition at Balai Ampang, Kuala Lumpur, in 1966, of 40 paintings and 20 sketches, describing the oeuvre of the artist, then aged only 24, especially the architectonic thrusts of the monuments of stones and natural growth as “the shape of boats (especially the prows), agave leaves and other plant forms, birds and their wings, the rhythmic flow of buffalo horns, aspects of the lingam, the lines of eaves and arches, or the patterns and motifs in pagodas or temples…”, while artist-critic-thespian John Lee Joo-for wrote eloquently about the “subtle haunting colours and recondite symbols” of his “vegetative forms, figures and his fetish-forms such as Shivalinga.”