Compromising more than 4,000 kg of saga seeds collected from across Southeast Asia, Anahata is a site-specific installation located in the heart of the Singapore Art Museum. In Hindu cosmology, the word refers to the fourth and 'heart' chakra, meaning "unstruck" or "unhurt". The idea of change is expressed here not as an active force or physical manifestation, but rather as sheer potential energy embodied in the seed, which holds the life-force of an entire tree in its tiny kernel. The world recalls the history of the site as a former Catholic boys' school, a place where knowledge and learning were planted. Pulsing with energy of thousands of seeds, Anahata intimates that the greatest power is that of pure possibility.

Nasirun has placed a cast of imaginary characters - represented by wayang puppets—inside glass bottles and beakers, and lit them to mimic the effect of television, which the artist sees as, essentially, a glass box filled with light across which a myriad of mythical characters enact their roles. Although television is associated with contemporary popular culture, its function is not far removed from traditional wayang performances, which also provided entertainment for the masses. At the same time, Nasirun's puppets recall specimens that have been preserved for study or for posterity. This suggests that like wayang theatre, these figures and the ancient myths that they are associated with, are now regarded as relics. Yet their unmistakable vitality, as they dance across the surfaces, is also a refutation of this fate.

This work features a kolek Melaka (traditional fisherman's boat from Melaka) filled with a thousand glass bottles inscribed with messages from male prison inmates in Singapore. These messages describe the inmates' hopes and aspirations while serving their sentences and upon their release. Ahmad's work amplifies and connects the inmates' aspirations to the public with the kolek, a vessel which is rarely seen today and a reminder of the artist's ethnic roots. Ahmad is a Malaysian citizen, although he grew up and lives in Singapore, and a major thread in his practice addresses questions of land, identity and faith. The title Telok Blangah references the area where Malay royalty used to live in colonial Singapore, as well as the neckline pattern for the baju kurung (traditional Malay men's attire).