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Assessing these works in terms of their insight, interest, coherence, complexity, depth or intelligibility involves a cluster of notions which are interdependent. The grotesque element in Kabiraj’s art greatly adds to its value. It does not, however, descend into perverse nihilism which is not an artistically legitimate instance of the grotesque. There also appears to be an obsession with aberration which matches his pessimism about humanity and everywhere one looks, one is treated to the most unexpected visual wit. It is easy, though, to get caught up in the subjects and humour and miss the great technical proficiency on display.

Kabiraj uses his art to point out the deficiencies in certain human institutions and the social issues which result from them in such a way that they become absurd, even hillarious, which is therefore both entertaining and accessible. Though the tone of the works may, at first, appear light, their function is wholly serious; and as for passion, it is actuated by a fierce and strenuous moral and intellectual enthusiasm, the passion for order, justice, and beauty. It aims to keep collective conscience alert, it exposes absurdity for what it is and makes those inclined to adopt foolish or tasteless fashions aware that what they espouse is ridiculous. It shows society its own features and makes it odious to the sentient. So often satire in the visual arts is portrayed as anti-progressive, yet its ability to offer cutting critique is a positive when aimed at the right targets as Kabiraj demonstrates. He is not afraid to tell unpopular truths, but his method is to tell with the assurance and detachment of sarcasm, and sarcasm is in these sanctimonious times, is a weapon most potent.