new-delhi

Nasreen Mohamedi, untitled, ca. 1975, ink and graphite on graph paper, 7 1/2 x 7 1/2".

Nasreen Mohamedi

Kiran Nadar Museum of Art

Nasreen Mohamedi, untitled, ca. 1975, ink and graphite on graph paper, 7 1/2 x 7 1/2".

These are exciting times in art history. A wealth of postwar artists who worked at the margins of Euro-America, beyond the Western canon, are being rediscovered, many now receiving their own monographic exhibitions in museums. A special place is being claimed for female artists—one may think of Lygia Pape from Brazil, Gego from Venezuela, and Saloua Raouda Choucair from Lebanon—and the work of the late Indian-Pakistani artist Nasreen Mohamedi (1937–1990) is equally ripe for reconsideration. Born in Karachi, Pakistan, Mohamedi studied at Saint Martins School of Art in London and lived in Paris, Bombay, Bahrain, and Kuwait, finally settling in Baroda (now known as Vadodara), India, where she taught at the University of Baroda, still a hotbed for Indian artists today. But despite her importance, rigorous art-historical study of her work will not be easy, as most of her

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