On hearing the term “Brit Pak” many in the art world would think first of the challenging band of mainly Goldsmiths graduates who dominated the British art scene in the 1980s and 90s. Lead by the controversial Damien Hirst, (who famously presented a shark preserved in formaldehyde), and including works by Tracey Emin, the Brit Pack reacted to the over-commercialisation of art by exhibiting in disused warehouses and decaying factories – but ironically the “pack” are now worth millions. Four years ago Hirst’s diamond encrusted skull entitled “For the Love of God”, was allegedly sold for £50million.

The Brit Pak show I visited this week provided a platform for another group of British artists.  Curated by Reedah Al-Saie, as part of Asian Art in London, this celebration of British-Pakistani art can be found at the prestigious Mica Gallery, just off Sloane Square in Chelsea.  If this building were ever a warehouse it was a long time ago.

Of Pakistani origin herself, Reedah explains how she feels detached from being “wholly Pakistani”, when she visits the country and many of the works, as the title of the show might suggest, speak loudly of confused identity. However, there is also a strong element of celebrating this duality. Reedah agreed with me that the arts provides a unique space in which this confusion and celebration of identity can be expressed and played out and communicated in a non-confrontational way.

Twenty-one years ago, Hirst presented his first “animal work” which consisted of a large glass case of flies feeding off a decaying cow's head. In the same year Conservative politician Norman Tebbit gave his name to the controversial “Tebbit test” – which doubted the loyalty of Asian immigrants in Britain who supported their native countries in a game of cricket.

The art and the policies in Britain at the time appeared rotten – and in both senses, I am delighted that Britain has moved on. Two decades on, being “British”, and being a British artist now holds a multitude of meaning and draws from a rich wealth of background – one that was always here as an island nation of migrants, but rarely picked apart.  And despite corruption scandals rocking Pakistani cricket, it is no shame to support the team – being British and being Pakistani simultaneously is entirely possible.

The work of Khaver Idrees in the show particularly caught my eye – a bold union flag embellished with Islamic script and pattern poses a striking emblem for the exhibition, and her work appears to pay more than passing reference to American contemporary artist, Jasper Johns. However, it was her more sophisticated pieces – such as her mixed media on canvas piece “No more picking holes” which show off her subtle brilliance and speak of trust, betrayal, social structures and faith – taking the question of “identity” to another level.

Nurjan’s moving piece “incomplete” consists of a framed white jigsaw puzzle with a handful of pieces missing, and of all the work in the show perhaps echoes the loneliness of not belonging most. However, many of the 16 other artists exhibiting alongside Khaver and Nurjan, had refreshingly little to say about a crisis of identity.

Identity was nestled amongst the works on show delicately by the curator, and the real celebration for me was the artistic talent that can be found amongst British Pakistani artists who are comfortable with who they are. Brightly coloured busses, elephants, mosques, nudes, faces, and Islamic script and a wonderful show of photographed gestures by Mansoora Hassan provided the best evidence yet that the Brit Pak artists are diverse and strong in their duality.

I had to smile when I saw that The Brit Pak show contained a large, black, jewel encrusted piece, which – perhaps referencing Hirst’s skull, perhaps not - also referenced God/Allah. You will have to visit yourself to see it (and it’s going for a lot less than £50 million).

The Brit Pak Exhibition is on until 3 December. Find out more information here.

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