Mohamedi’s work demonstrates the far reaches of minimalist practices, despite the movement’s association with American modernism. Known in this country largely through her recent retrospective at the Met Breuer, Mohamedi, who the Met called “one of the most important artists to emerge in post-independence India,” made delicate, abstract drawings that experiment with intersecting lines, grids, and planes.
Raised in India, Mohamedi studied art at the prestigious St. Martin’s School of the Arts in London, where she was based for some 10 years. After moving to Paris, she returned to India to teach fine art at the university level. What surprises many curators is that while many of her 20th-century contemporaries in South Asia were making brightly colored, figurative paintings, Mohamedi was intensely focused on abstract, monochrome line drawings rendered in combinations of ink, graphite, gouache, and/or watercolor. At times, they bring to mind architectural sketches or abstract landscapes, but they are clearly non-representational, playing with perspective, depth, and three-dimensionality with a tremendous economy of means.