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Jitish Kallat's inferences of pop art "interplay of positive and negative spaces, as marked by his Doppleresque use of paint ridges to make his surface flicker towards and away from the viewing eye."

In a marked separation from his work of early 2000 and 2001, Jitish flattened his surfaces to simplify his imagery and create a more informal dialogue with the viewer. His use of symbolic allegory reflects a deceptive simplicity. His effort... Jitish Kallat's inferences of pop art "interplay of positive and negative spaces, as marked by his Doppleresque use of paint ridges to make his surface flicker towards and away from the viewing eye."

In a marked separation from his work of early 2000 and 2001, Jitish flattened his surfaces to simplify his imagery and create a more informal dialogue with the viewer. His use of symbolic allegory reflects a deceptive simplicity. His effort seems to be directed at drawing in the viewer quickly and then slowing down the process of interpretation and understanding. "Kallat has adapted the strategies of the billboard, in order to operate between opposites, as he suggests, of Agit-Prop on the one hand and Pop on the other. It could also be suggested that Op Art and History Painting form another crossing of axes." (Ranjit Hoskote, The Pictorial Declarative, The Lie of the Land, Humiliation Tax, Walsh Gallery, Gallery Chemould, 2004, 2005).

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