Contextual analysis studies based on cultural and identity aspects of fine art practice are still limited in Malaysia, especially concerning new media art, although new media as an artistic tool was introduced as early as the 1990s. Since the seminal exhibition on E-art was in 1997, since then systematic examination of new media artworks and their role in the Malaysian art history has only been limitedly done. The early approaches of new media art were varied, yet the subject matter, as discussed in this paper, was still mostly informed by the general proclivities of Malaysia artists at that time. Thus, it can be seen that despite the new technology used and explored, the subject matter of these works is still aligned with similar concerns and contents as can be found in contemporaneous works using traditional media. Thus, as this paper demonstrates, the themes of cultural identity and culture related issues and concerns still persisted as the main subject matter of early Malaysian new media artworks, as can be seen in the oeuvres of Hasnul Jamal Saidon, Liew Kungyu, Niranjan Rajah, Yee I-Lann and T.C. Liew.

Yusof Ghani is a Malaysian artist who was significantly influenced by American Abstract Expressionism. Ghani’s first solo exhibition in 1984 was held at Anton Gallery in Washington, DC, where he showed his Protest series. However, this series failed to fit in with the work of other Malaysian artists who were at that time intent on developing a national identity for Malaysian art. Rather than acquiescing to the same theme, Yusof pursued his interest in "cultural dance," which he had explored in his MA thesis, eventually expanding it into the fundamental theme of his SiriTari (Dance Series) (1984–1992). Yusof Ghani’s works possess an astonishing fluidity that captures the exhilaration and tension of his subject matter. Heavily influenced by Jackson Pollock and Willem de Kooning, Ghani’s works are intense, powerful, and are usually noted for their spontaneous and ferocious brushstrokes. His works consist of abstract (or semi-abstract) forms and imageries, emphasizing formalistic experimentation in his use of colors, emphasis on the simplification of forms, and expressive qualities of his lines.

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The history of Malaysian modern art early in the 20th century is not well-established. Also, the term "modern art" has yet to be extensively discussed locally. Evidently, the term does not refer to the modern art movements that occurred in Euramerica; rather, it frequently refers to a type of art that differs from its traditional counterparts and painting media that were alien to the indigenous people of the Malay Archipelago then. It is presumed that (1) modern art began in Malaysia-or Malaya in this context-just before the 1930s and that (2) visual appreciation of modern art among the Malays was only attained after the widespread adoption of painting media in Malaya. Hence, this paper examines the various sketches in Malay manuscripts and newspaper illustrations as some of these works were the initial forms of visual modernity during the 19th century, thus expanding the credence of the beginning of the history of Malaysian modern art to as early as the late 19th century.

Artworks in the form of "installation art" have become a widespread artistic activity in