Since the mid-90s, artists have increasingly participated in exhibitions both in the republic and in neighboring and distant countries. Among the most significant exhibitions are: the all-Union "Our Contemporary" (Moscow, 1982) and "Watercolor Exhibition" (Moscow, 1984); exhibitions of Kyrgyz art in Morocco (1995), India (1987), and Cuba (1989). Among the recent international exhibitions, the following stand out: "Ecology - Woman" (Bishkek, 1995), "Dialogue" (St. Petersburg, 1995), "Artists - Nomads of the 21st Century" (Almaty, 1996), biennales in Bangladesh (Dhaka, 1997, 1999) and in the USA - "Women of the World" (New York, 2000), as well as international exhibitions in Moscow "CDH - 2000" and in Kyrgyzstan "Gender in Art" (2001).
A noticeable activation in the artistic life of Kyrgyzstan is associated with the opening of private art galleries and salons in both the capital and regional centers of the republic — "Gallery M," "Art Salon," "Asia-Art," as well as the Summer Exhibition Salon.
The development of artistic culture is supported, alongside the Union of Artists and state institutions of the republic, by public non-governmental organizations and movements: "League of Women’s Creative Initiative of Kyrgyzstan" (1995); Center for the Development of Traditional and Contemporary Culture "Kyrgyz Style" (1996); ecological movement "Tabiyat" (1997); "Association for the Support of Women Artists and Art Historians of Kyrgyzstan" (1998).
In the 90s, there was a rise in the monumental and plastic arts of Kyrgyzstan. This was the result of the creative searches of sculptors from different generations who contributed and continue to contribute to the development of national sculpture.
An important event in the cultural life of the republic was the creation of various monuments and busts of outstanding statesmen of the Kyrgyz people — T. Kulatov, B. Isakiev, I. Razakov, Yu. Abdrakhmanov, A. Sydykov, A. Orozbekov, B. Mambetov, S. Ibraimov (1998—2000).
The tendency towards a broad coverage of life phenomena and a sensitive approach to the plastic development of the image are characteristic of the easel works "Dream" (1997) by S. Azhiev, "Manaschi" (1990) by B. Batyrbaev, "Portrait of S. Chokmorov" (1985) by D. Zholchuev, "Bird Catcher" (1998) by M. Ogobayev, "Bird of Happiness" (1998) by A. Turumbekov, "Christmas" (1994) by M. Jumaliev.
