Redza Piyadasa devotes himself both to the practice and to the theory of art. During the sixties and seventies he filled a serious vacuum, at a time when there was scarcely any debate in his country on the subject of art history or art criticism. Partly due to his persistent efforts, the situation is now quite different. In his many publications, both in English and in Malay, in his countless articles in the Malaysian press and also in his work as an artist, he examines the contexts of art and their significance in the construction of artistic traditions and artistic values. His interest is centred on modern Asian art, which he places in relation to traditional Asian art forms and Western contemporary art. Piyadasa’s art - such as the collage-like ‘Malaysian Series’, which he has been working on since 1980 - and his art criticism are his answer to the neo-nationalistic and Islamic currents in Malaysia, which have threatened to marginalise minority groups and still continue to pose a threat.