Lahore, Pakistan–based Fahd Burki’s recent exhibition “New Works” marked a notable rupture in his practice: a dramatic shift toward near total abstraction. In the suite of subtle works on paper and canvas, Burki all but abandoned the playful but enigmatic imagery—graphic, at times comical, icons loosely inspired by archaic mythologies and future visions—that characterized his earlier work. The distinct black lines and flat, opaque blocks of vivid, occasionally neon, color Burki formerly used have been replaced by quiet compositions of basic elements—lines, grids, squares, circles,