The various distinct but connected lineages of Himalayan painting remain thriving languages employed by artists from across the region to express their unique perspective in our shared contemporary world. In Bhutan in particular, this language is prevalent and its maintenance is seen through the political prism of preserving Bhutan’s identity in the global world. That being said, o ffering by Gyempo Wangchuk presented an attempt to bring a critical dimension within the traditional Himalayan forms of expression.