universality – archetype, myth, memory, desire, betrayal, longing, ecstasy, pain." Poet and art critic Ranjit Hoskote says Mazumdar's work inspires "a visual and conceptual excitement – a heightened, even epiphanic extension of the senses… now rarely felt in exhibitions of contemporary art. In sacrificing conceptual depth for surface flamboyance, in confusing truism with idea, in mistaking fashion for formal progress, many younger Indian artists have lost their way in a labyrinth where each forked path leads to discovery or a dead end. Mazumdar, by contrast, has never lost sight of the vital connection between reflection and practice, self-expression and self-critique; he values hesitancy, the creative rupture of one’s own certitude, over the reckless speed of unmediated production." Soumitra Das of The Telegraph found the 2012 installation … and undated: Nightskin to be "matured and transformed into an aesthetic realization of his ideas of transience, mutability and of night being the matrix of creativity" in comparison to his earlier works from the 1990s, which Das found to be "gimmicky" in their use of "giant canvases… electric lights and other theatrical props." Reviewing Mazumdar's Installation New Work (Kolkata, 2004), writer Aveek Sen wrote that "the work teeters on the verge of great clichés…. But then, "how clear is the line that separates great clichés of art from its great themes?" Notable works New Work undated: Nightskin Mazumdar's seminal work undated: Nightskin, debuted in Dubai in 2009 and was adapted and recreated as …and undated: Nightskin in Kolkata in 2012. The original Dubai installation was presented in a large warehouse and used the exhibition space and the surrounding desert landscape as elements of the work. The Kolkata edition was housed in Mazudar's studio at Ho Chi Minh Sarani and extended into the Harrington Street Arts Centre located on a floor above the studio. The exhibition stretched across two floors and included photographs, multimedia installations, tall towers (some of which were covered in lush, textured layers made of fabric), oils leaking out of boxes, and projections of video, light, and sound. One reviewer described a "crate smok[ing] like an overheated engine which might catch fire at any moment, but close inspection reveals the smoke as vapour." One room had stark white walls on which were hung a series of prints titled "One Square Kilometre" showing the decomposing carcass of a calf, photographed over a period of five days. Another room contained "large screens on