In Untitled (The Babysitters), artist Cheong Soo Pieng presents an idyllic village scene. The setting is most likely a longhouse — a traditional residential structure common among the indigenous people of Borneo. A longhouse can accommodate multiple families, with each family having their own private rooms while sharing a communal corridor space. The artist visited the Dayak longhouses in North Borneo in 1960 and  the experience greatly influenced his practice. The work’s title suggests that these “babysitters' ' are not the children’s biological mothers but possibly neighbours in the longhouse. Viewed in the present day, the painting evokes nostalgia for a more intimate and reciprocal form of community. 

The grey monotony of the painting is balanced by strategic bursts of red and the colourful patterns of the women's sarongs. These bursts of colour hint at the vibrancy of life in the longhouse, even in an apparently ordinary and quotidian scene. The artist uses Chinese painting ink technique with a modern painting style.