The most outstanding and intriguing feature of Madhu’s work is the depiction of a contemporary image in a conventional medium. Instead of keeping his artwork as an installation, he seems to take the image of an installation and turn it into a painting in such a meticulous manner almost like he is trying to drive a point in. He seems to take the present (installation) into the past (pigment on paper), considering new media to be more contemporary that painting, thus projecting a very new idea in an old window that belongs to a different position in the timeline. The dry leaves support this idea as something of the past coming into the present in that it has been created with paint only a few days ago. Madhu is playing with the whole human concept of time to dismantle it and bring in some new perspectives on the idea of time itself. He brings the past and the present together in a methodical manner with such ease of flow that one needs to be very careful in concluding that he has just fabricated something. One must see deeper to know that he is actually throwing light on something that already exists but needed to be unveiled in the way he is doing it here. The human concept of time is a superficial one that is followed for the sake of convenience. But Madhu with his shuffling of the then and now seems to be poking this thing called contemporary art to reconsider its name. He defies contemporary art while parading in the sphere of it fooling those who do not care to look beyond his surface. Thus contemporary art has embraced its rebel in its disinterest to discern those it calls its own. Fortunately here the rebel is closer to the truth than the community he is in. He has the potential to win the community not just because he is true but due the way he carries himself in their midst.