The battle between good and evil in Maher's paintings is not the battle between purity and impurity. Devils and angels are not envoys of mythical gods. As a matter of fact, wisdom and idiocy have stood facing each other directly and maybe the allegory in Maher's works of art derives from the truth that human beings in his paintings are not ideal and they are therefore anthropologically familiar. Maher's recent portraits denote discovery of a switch with which he can rewind "present" and show the "past" with a secreted notice regarding an unknown future. Maybe I could describe Maher's humans who have now passed Bushehr's alleys and passages, apart from their sexuality, a recollection of forgotten memoirs - humans who have walked out of Mani the Prophet's book because they were keen to see the sky but are now worriedly in search of a corner while they still possess a shadow. The shadow implies their ethnic spirit that has stayed with them. Although the memoirs in this book fade out little by little, Maher proficiently replaces words with color.