While looking at the continuum of Sweety Joshi’s recent works, I also notice the traces of the bygone that exist as a root in various kinds of residues. These residues are the only remaining evidence of that extinct world; they are also the symbols of a lost dialogue between the memories of its creation and the amnesia of its cognizance. While viewing and reviewing these works, Joshi’s struggle to explore and demonstrate the possibilities of a new aesthetics layered up in her pictorial research on the idea of the authenticities of these sensitive pieces of evidence. This whole process  seems to formulate entirely new tangible inquiries and proposes alternative facts of the material behavior of her aesthetics. Her recent works are the forms of testimony floating between the outcome of its validation and verification.