Contemporary Tibetan art has continued to play an important role in the global art movement as well as Tibetan politics as a means of expressing varying notions of Tibetanness and resisting the occupation of Tibet by the Chinese Communist Party. Fashioning a sense of Tibetanness has often been characterized by the subjective experiences of Tibetan artists. While some artists have migrated out of Tibet, others have remained settled in occupied Lhasa to practice their art. Some artists have never had the chance to visit Tibet, having grown up in exiled Tibetan communities in India and the West. These experiences have led to the rise of contesting ideas of Tibetanness that reflect the debates around Tibetan nationalism both within occupied Tibet and in the diaspora. This essay discusses the works of three contemporary Tibetan artists, Gonkar Gyatso, Nortse, and Tenzing Rigdol, focusing on how they express their own notions of Tibetanness through their art. While building upon existing scholarship on Tibetan art, I have also analyzed some of the newer works by Nortse that were produced during the COVID-19 pandemic to further discuss how global events continue to shape and affect Nortse’s art under occupation. Furthermore, I have also aimed to analyze contemporary Tibetan art alongside prevalent concepts within the domain of memory studies, namely discussing Pierre Nora’s “sites of memory” and Marianne Hirsch’s concept of “post-memory” to elucidate how art and visual culture can become crucial tools to preserve and carry down historical trauma and memory in the absence of a unified geographical identity.