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Rana Begum, No. 670, L installation, 2016, powder-coated galvanized steel. Installation view. Photo: Jack Hems.

Rana Begum

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Rana Begum, No. 670, L installation, 2016, powder-coated galvanized steel. Installation view. Photo: Jack Hems.

London is a city best encountered on the move. As the to-and-fro of commuters and the rhythmic waves of visitors synchronize into one homogenous beat, we tend to overlook the colorful moments that can punctuate the dull monotony and give this city its eclectic character, from neon-yellow underground railings against charcoal-gray business suits to steel-drum street music accompanied by the drilling sounds of construction, or a graffiti-covered parking lot at the foot of a sharp, shiny skyscraper. Tuning in to these varying pulses and contrasting facades, however, is the perfect way to prepare to consider Rana Begum’s work, which regularly draws on and refreshes our perception of a city in flux.

Begum’s latest solo show,“The Space Between,” was laid out like a miniretrospective, showcasing more than fifteen years of her commitment to light, color, and material. The exhibition linked

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