What connects the life of rock stars, circus clown fantasies, love affairs of handsome Hollywood characters, and bad painting, is their carnivalesque aspect: a tragic quality within a comic shell. Apparently, unlike modern and contemporary Middle Eastern artists of the past century, Smart and the new generation of Iranian artists are more influenced by a universal culture, rather than their own national identities. But the fact is that more than computer games, cheap American animations, and a fluffy Los Angeles life, it is political anxiety that prevails within Smart's work: a terrifying contrast between a fantasy and frivolous lifestyle, against a rigid, prevailing ideology. What we see in his paintings and collections with their childish and street style titles is an attempt at covering up the ugliness of today's Iranian society. The cries of this generation of artists must be taken seriously and responsibly, because throughout history hearing these cries has led to many great storms. These are young people who are tired of drones, cluster bombs, terrorist groups, and serial dictators of the Middle East, and have taken refuge in the Disneyland of their minds.