His most notable exhibitions include the Magiciens de la terre in Paris (1989) and Other Masters curated by Jyotindra Jain at the Crafts Museum, New Delhi (1998).

[1] Jangarh had also painted the interiors of the Legislative Assembly of Madhya Pradesh, the Vidhan Bhavan, and the dome of Bhopal's Bharat Bhavan—one of the most prestigious museums of tribal and contemporary Indian art.

Soon Jangarh was employed in Bharat Bhavan's graphic arts department, and he began to live with his family behind Swaminathan's house in Professor's Colony, Bhopal.

He was subsequently commissioned to do the exterior murals for Vidhan Bhavan—the new legislative building in Bhopal designed by the renowned architect Charles Correa.

The art historian and critic, Yashodhara Dalmia, said this was as "a grim reminder of the growing trafficking of unsung artists worldwide" in an obituary in Outlook magazine.

Husain, Manjit Bawa and Nirmal Verma urged the governments of India and Japan to inquire into the mysterious circumstances of his suicide.

Initially, the founder-director Tokio Hasegawa declared that he had not 'budgeted' for Jangarh's remains to be sent to his family in Bhopal and the museum proposed cremation in Japan.

In 2002, a year later, the Mithila Museum offered their own version of Jangarh's death on their website, authored by the curator Miyoko Hasunama.

The primary subjects of Jangarh's paintings are Gond deities like Thakur Dev, Bada Deo, Kalsahin Devi and others.

With the impoverishment and weakening of the social order of adivasi communities first by colonial apparatuses and then the administration of independent India, patronage to the Pardhans eroded.

Jangarh also used other techniques like "fields of dense cross-hatching, tightly drawn comb-lines, rows of tiny ovals, bands of dots, sometimes accompanied by narrow squiggles and small irregular amoeba-like forms".

A feeling of intense vibration is the hallmark of his style, the cohesion of his work in constant metamorphosis, which reveals both the animist culture of the Gond tribe, where he is originally from, and one of the foundations of Indian thought".

In an essay on an exhibition of Jangarh's art, the cultural theorist Ranjit Hoskote says: The designation "tribal" froze vibrant communities into stigmatizing categories, branding them as hereditary criminals, incorrigible nomads or ignoble savages, while the colonial-industrial regime helped itself to their forests, rivers and mountains.

From this repressive viewpoint, we arrive at the belief that the tribals are backward people whose energies are caught up with the mythic rhythms of nature.

His house in Professors Colony became a hub for several Pardhan Gond artists who migrated to the city hoping Jangarh would show them the way.

[18] His son Mayank Shyam, also an artist, has moved away considerably from the first-generation iconography and style of Gond art and focuses on geometrical patterns.