Modern art in Tibet never seems to relate to the modern art movement in the outside world, seldom even participating in any contemporary art program in mainland China. So few people know the modern art of Tibet. It is like a strange creature, itself grown and developing without preparation, but it has just happened as a mingling of the red and blue neon lights of the nightclubs and the butter lamps and the Potala palace with the plastic evergreen coconut trees at its foot.

Modern art in Tibet has grown in such a fantastic ecosystem and environment. It's like an underage person without preparation and experience facing a life-and-death crisis, at the same time facing the bars and fetters of his own ancient culture, and the stereotypes of the outsider, hampered by a lack of the information and communication with the external world. The development of Tibetan modern art is difficult from the very beginning, but it is good from another point of view, because artists can closely examine themselves and hold their own interest in an age of information explosion.

Perhaps what the artists thinking about modern art in Tibet is just in their imagination - or maybe there is no modern art in Tibet. But what is important is that artists are recording the transmigration of a civilization and a disappearing myth.