A new euphemism has entered the Yogyakarta architecture lexicon: a bear hut in Nadiah Bamadhaj's monochromatic style. A dilapidated dwelling with restricted space that could presumably only fit a bear, in a persecution-complex Chinese slum, along the Yogyakarta railway line. Despite the under-privileged occupants under a siege complex, the 'protective' cover hardly suffices and are fragile, with ethnic-Chinese citizens suffering when riots broke out. Maybe, the situation and condition of the denizens are better now, as nearly a decade had passed. Nadiah, who resides in Yogyakarta, continues to make engaging posturings on the socio-political situation in Indonesia and Malaysia, with references to history, architecture and the environment. Nadiah Bamadhaj is one of the most consistently impactful artists in Southeast Asia, straddling Malaysia and Indonesia. He won the Juror's Choice award in the Malaysian component of the Philip Morris Asean Art Awards in 2001, and was a resident artist at Rimbun Dahan (2000-2001). He was educated at the University of Canterbury in Christchurch, with a double major BFA in Sculpture and Sociology. She was awarded the Nippon Foundation's Asian Public Intellectual Fellowship in 2002-2003, with a follow-up Public Intellectual grant in 2004. Her notable solos after turning fulltime in 2000 include: The 1965 Rebuilding Its Monuments (2001), Surveillance (2008), Keseragaman (2012), Poised for Degradation and Descent (2014, 2016), enamlima sekarang' (2003, 2004), Ravaged (New York, 2008) and The Submissive Feminist (2021). She is on the board of Yayasan Kebaya, a HIV/AIDS homeless shelter in Yogya. She has also taken part in art fairs such as Art Central Hong Kong and Art Jakarta.