In Malaysia, figurative painting has increasingly become a means for artists to pose questions about presumptions of power and assumptions of history. The body, its potentially breached boundaries and defenses, forms an integral component of the battle for political influence. The degree of control over one's own and other people's bodies has become a measuring stick to determine the power of potential political leaders. Anxiety about boundaries and access to powerful bodies is intertwined with the questions of who has the right to hold power; the relevance of moral bodies and of what comprises an ideal self or selves. These questions are raised in intriguing ways in contemporary Malaysian art. While eschewing a direct take on current politics, Malaysian artists have increasingly turned to the body to address issues in Malaysian history, culture and the distribution of power. This paper will explore some works by three artists in particular, Wong Hoy Cheong, Nadiah Bamadhaj and Ahmad Fuad Osman use the figure to problematise dominant narratives in Malaysian history. Their work variously challenge political, racial and gender hierarchies and in so doing, reveal them as social constructions.

Ⅰ. Introduction
 Ⅱ. Controlling Dissent and the Extent ofGovernment Oversight
 Ⅲ. Wong Hoy Cheong's Political Activism and Art
 Ⅳ. Nadiah Bamadhaj on Land, PowerDynamics and the Body
 Ⅴ. Ahmad Fuad Osman's HistoricalExplorations
 Ⅵ. Conclusion
 Ⅰ. 서론
 Ⅱ. 이견(異見)에 대한 통제와 정부의 단속범위
 Ⅲ. 웡 호청의 정치적 행동주의와 예술
 Ⅳ. 나디아 바마디에 있어서 토지와 권력의 역동성,그리고 몸
 Ⅴ. 아흐마드 푸아드 오즈만의 역사적 탐구
 Ⅵ. 결론
 참고문헌
 Abstract

• Laura Fan(Independent curator) | 로라 팬