Since Karam’s 1987 Modern Thinker painting, the human mind and its thought processes have been a constant theme in Karam’s work, with a recurrent presence of a Thinker on a chair in many of his sketches and paintings from around 1992. Whether the Thinker is the focal point of the work or a sub text of other stories, or whether he is the narrator, protagonist or observer; he is a trace of inner processes of thought, and his presence influences the narrative of the whole painting. In a twist of the allegory, Karam presents us on occasion with an empty chair, and we are left with a conundrum, the absence of thought or certainty of knowledge?