Frank Sullivan, the pioneer shaper of Malayan art, wrote of Latiff Mohidin's solo exhibition at Balai Ampang, Kuala Lumpur, in 1966, of 40 paintings and 20 sketches, describing the oeuvre of the artist, then aged only 25, especially the architectonic thrusts of the monuments of stones and natural growth as "the shape of boats (especially the prows), agave leaves and other plant forms, birds and their wings, the rhythmic flow of buffalo horns, aspects of the lingam, the lines of eaves and arches, or the patterns and motifs in pagodas or temples...", while artist-critic-thespian John Lee Joo For wrote eloquently about the "subtle haunting colours and recondite symbols" of his "vegetative forms, figures and his fetish-forms such as Shivalinga." Abdul Latiff Mohidin breaks down barriers of thoughts in lines and forms, on canvas or board or printed on paper, in sculptures and on printed text. He became the toast of Asian art when he was selected to be the first Southeast Asian artist to feature in a major solo at the prestigious Pompidou Centre in Paris in 2018, with his iconic Pago-Pago series no less. The thrust of his themes is in the intellect, the physical structures both natural and manmade juxtaposed in an awkward pose. Fluent in English and Bahasa Malaysia, he added German to his linguistic repertoire. As poet and writer, he had won the Malaysian Literary Awards from 1972-1976, besides the SEA Write Award twice (1984, 1986), and was also guest writer in Dewan Bahasa dan Pustaka (1988). His tutelage was tripartite – German: DAAD German Academy in Bonn; American: John D. Rockefeller III Fellowship; and French: Printmaking at Atelier La Courier in Paris. Early on in his career, he won the 2nd Prize (Graphic) in the hugely coveted Salon Malaysia in 1968.