Yunizar’s works elicited a negative buzz among art critics in Indonesia when he held the “Membuka Kemungkinan” (Opening Up Possibilities) exhibition with five colleagues linked in the group called the Fine Art Window Group (Kelompok Seni Rupa Jendela – KSRJ) at Taman Ismail Marzuki in the middle of 2000. Several reviews were printed in the domestic mass media taking an overall negative view of the exhibition. The works by the KSRJ group, including the paintings of Yunizar, were criticized as “lazy”, “annoying”, “meaningless” creations, or art that was “highly derivative from that produced by the peoples of other countries.” The character of Yunizar’s works presented in that show did indeed diverge from the qualities seen in his previous work. His paintings were non-representational, although not abstract; full of repetition, but not decorative, indecorous and expressive, but not as capable of eliciting the emotional response usual with paintings exploiting color symbolically. Interestingly, Yunizar’s works did not lean toward either of the main tendencies mentioned above. Certainly, seen from a thematic point of view, Yunizar’s paintings have a base among seemingly insignificant issues running counter to the trends toward the socio-political art that has been developing more extensively in Indonesia since the fall of the Soeharto regime. Indeed, Yunizar has never been an artist known for bringing up and developing grand themes or narratives. He has always preferred more to play around with materials mixing, knitting, extending, sewing, and gluing all kinds of objects on his paintings but always without any intention of using these materials in a personal manner or in personalizing them. Sometimes, all this artist cares about is the manipulation of language of the materials, or, at the very least, setting forth specific impression through the use of contrast, lines, forms, colors, or the quality of the surface of the painting, or even carrying this preoccupation to the smallest aspects and issues of the visual vocabulary in general. Yet, approached from even another point of view, it still cannot be said that Yunizar is seeking the essence of a more beautiful expression of visual language. His paintings are frequently muted, and not at all eye pleasing. This artist is not dealing with or mimetically depicting something that exists within the reality of nature. The repetition of dots, lines, curves, and the collaging of objects – all done with extraordinary intensity on his canvases – are only meant to stimulate the imagination of the viewer about something that remains indefinite or tentative. His approach to painting is sometimes apparently naïve, but this does not mean that it sets aside or ignores conceptual matters.