Since 2005 he has been connected with Anaid Art Gallery in Bucharest, which has organised major exhibitions of his work: “Black Rumania” (2005), “Finis Mundi” (2007), “Generation Djihad” (2009), and “Raving History” (2012).
The themes addressed by these artists are, in the words of Diana Dochia: "sensitive subjects pertaining to post-totalitarian Romanian society and [in the first place] issues such as sexuality, corruption, religion, war, and politicians.
"[2]Tara's favourite media are black marker pen and red paint, and his best-known works are made on old communist-era schoolroom maps and educational posters.
The local context is his starting point for his artistic narratives about identity, difficult history, the co-existence of cultures, unhealed wounds, and the emptiness of now depopulated towns and villages.
He comments on the relations between Romania and the European Union, teaches communist history, and lays bare the bloody pages of grand ideologies, using images such as maps, sacred books and religious symbols, flags, dates, places of torture and sites of martyrdom, tanks, media slogans, and blood.