Untitled 1970

Editor: So, here we have Nasreen Mohamedi’s “Untitled” from 1970, described as fibre art. The repetition of the lines is striking, and it feels almost like a minimalist landscape turned on its side. What do you see in this piece, and what does it mean to you? Curator: Mohamedi's work demands we consider the intersections of modernism, minimalism, and postcolonial identity. While often read through a formalist lens, I argue that her stark, geometric abstractions are deeply interwoven with her experience as a South Asian woman navigating a world shaped by colonial legacies. The austerity, the seeming rejection of figuration, might be understood as a powerful counter-narrative to the dominant, often Orientalist, portrayals of women of color. Do you see how these lines almost resist being read in a straightforward, representational way? Editor: Yes, now that you mention it, there's a sort of refusal to offer easy answers. It makes me think about the artist’s intentions… or maybe challenging assumptions *about* her intentions? Curator: Exactly. Mohamedi’s work subverts expectations. What looks like simple geometry speaks volumes about her position in the art world and society at large. Consider also that abstraction, especially during that time, was considered a very Western construct. By engaging with it so rigorously, what do you think she was saying about her own artistic agency? Editor: So it’s about both challenging cultural expectations and entering into a global conversation? I always looked at this piece for its form, but I’m learning to see so much more. Curator: Absolutely. And by situating Mohamedi's “Untitled” within broader historical and social contexts, we move beyond surface appearances. We engage with art not just as a product but as a potent form of cultural commentary and resistance.