It was in 1999 that Tang started to produce paintings where the adults in meetings are replaced by small children. The effect is amusing and, at first, disorienting; then the message becomes quite explicit. Besides replacing the adults' faces with those of children, the painter has added scattered toys - mainly cars and balls - to enhance the paradox. The familiar icons are still there: tables covered with cloth, banner, microphones, curtains. On the floor simple rectangular carpets have become important pictorial elements, while dogs, both real and toy, start to appear in nearly every canvas. Here the artist, as he admits, is creating paintings that are `strategic', that follow a `pre-meditated plan', where every single element is chosen for its symbolic value. Subverting the principles of Chinese and Soviet Socialist Realism, which Tang absorbed during his artistic education in Nanjing and Beijing, he is now forging a breed of anti-hero baby cadres that satirises a whole era.