The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.
Zarina Hashmi’s work that imagines “home” as an idea we carry with us sets the tone for the Institute of Arab and Islamic Art’s first exhibition in New York.
If you thought the Eurocentric gods may have been toppled from their comfortable perches at the top of Mt. Met, you’ll be sorely disappointed.
After the filmmaker Nagisa Oshima was called the “Japanese Godard” for what must have been the umpteenth time, he wittily replied by calling Godard “the French Oshima.” I thought of Oshima’s response once more when I went to Nasreen Mohamedi: Becoming One at the Talwar Gallery (September 13–November 23).