Upon entering the cozy and homey Ark Gallery in South Jakarta on a Sunday, the last thing most visitors would expect to see is a yellow goat, captured on its hind legs before a thick, solid black background.

But of course, it's the "Black Goat Space" exhibition. In the distance, another goat beckons, black and white this time.

Its feet were fixed to a rail, connecting it to the wall in front of it. On the wall was a two-meter-high human figure bedecked in a black superhero outfit.

"My works speak of power relations and those in power. They remind people of former president Suharto's New Order, when artists were forced into submission with no freedom of expression," said artist Entang Wiharso.

"And they are also about the issue of labeling -- something we can't simplify as merely black or white."

His works -- including cutouts, prints, mock-ups and paintings -- question the established definitions of what it means to be human. His paintings, which depict humans and goats in various poses, are rich in symbolism.

Most of them portray goats, black or otherwise, including white goats in the more subtle prints. And when they are not present, their absence becomes painfully vivid.

"You didn't think I'd present only black goats in my exhibition, did you?" he said.

"The different colors are my way of associating goats with humans, and the terminology I use is 'black goat' not scapegoat or black sheep, both of which have negative connotations."

Curator Jim Supangkat said Entang's works offered a shift in meaning, oscillating between scapegoats and black sheep.

"He's exploring the uncertain emotion of the gray area," Jim said.

Having shuttled between Indonesia and the United States in pursuit of higher education, Entang's artwork draws heavily from his experience juggling different cultures.

His recent works are more contemplative, full of symbols expressing raw emotion. He was clearly very moved by his experiences and emotions, Jim said.

Reminiscing on the creative process behind the "Black Goat Space", Entang said the overall message he wanted his works to convey was based on his experiences at the immigration office in the U.S.

"Being a citizen of the world's most populous Muslim nation, I had to endure the black and white dichotomy Americans use to judge us. The immigration office was extremely cautious because of our country's history of terrorism. Such generalizations violate our identity as individuals," he said.

However, when he decided to adopt the "black goat" mentality, Entang said he felt calmer and in control.

"By understanding beforehand the label imposed on me as a member of a certain population, I feel healthy, ready and immune from the labeling. More so than when people point their fingers at me," he said.

Earlier in his life, Entang, as an educated young Muslim, was dogged by the religious taboo of drawing or depicting other humans.

"And so he came up with a solution to this problem. He included images of keris, a traditional Javanese dagger, in his artwork, thus allowing himself to continue painting people. His reasoning was if the people in his paintings had been killed by the keris, they were no longer human," Jim said.

Entang was born in Tegal, Central Java, in 1967, and currently divides his time between North Kingstown, Rhode Island, and Yogyakarta. He received a bachelor of fine arts in painting at the Indonesian Art Institute in Yogyakarta.

His previous exhibitions include "Eating Identity" at the Mead Art Museum in Amherst, Massachusetts, and "I Kill the Sign" at Rumah Seni in Semarang, East Java.

Entang is widely considered an observant and vocal artist in exploring cultural problems and blatantly experimenting with tensions.

"I think Entang will continue making significant leaps in the development of his art," Jim said.

"The international art world is facing big changes, and many artists are now trying to find new ways of understanding art through a variety of methods. I believe Entang will continue creating phenomenal works."

One of his works in the "Black Goat Space" exhibition depicts a superhero hastily running toward the edge of a cliff, chased by a black goat.

Here again human behavior is dissected, questioning our conformity of the politics of power and intimidation, where conversation is not simply an exchange of ideas, but also a show of power.

It's as if Entang Wiharso is showering us with a simple question: Why do we need more black goats?

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