Joshi installs his paintings like a set of comic strips, choreographed to be discursive to the viewer, while letting his watercolour cartoons jut out like museum displays of frescoes, in his show where he revisits the history of the cartoon in newsprint. It is a meticulous study of a peculiar visual vocabulary very pertinent in a period where a political leadership offers satire in plentitude through irresponsible statements, perverse ideologies and views on science devoid of any rationalism.