Conceived by world-renowned artist, Victor Ekpuk, the new landmark sculpture in the heart of the Diplomatic Area pays tribute to the Kingdom and reflects the changing face of a 40-year-old institution.

Victor Ekpuk's room-sized installation, "Shrine to Wisdom," invites visitors to sit and learn, while immersed in one of his signature murals, which is based on an ancient writing system

"There’s something about the sonorousness of the language and the richness of his color fields that connects somehow. Overall, Bhavsar’s works bring out color’s metaphysical aspects and, via his use of raw pigment, its profound physicality."

Mr. Koraïchi uses Arabic semiotics and calligraphy as the basis of his work, and the booth will feature engravings, banners, tapestries and a sculpture.

"Bhavsar is at once a thoroughly American painter and product of Indian culture, the deeper meanings and values of which have not left him.  Never, as he approaches the divine, does he lose touch with the richly cross-cultural experience that has formed him. A Bhavsar painting is immediately recognizable as his."

The works of Youdhi Maharjan and Monika Bravo are as different as the artists’ personalities yet exemplify these ideas, and the two share strong connections in their approaches to creativity and the meaning of art.

Aicon Art Gallery will exhibit the debut solo exhibition of the early work of octogenarian New York Indian American artist Natvar Bhavsar, ‘Beginnings.’

In his latest paintings, Salman Toor meditates on his life as a gay artist who divides his time between two diametrically opposite communities: New York, where he can live and love openly, and his hometown of Lahore, Pakistan, where the dictates of family and religion demand that he suppress his identity.

New York-based artist Salman Toor’s brushstrokes place young queer brown men in scenes of love, friendship, and solitude in his luscious oil paintings. In Time After Time, his ongoing exhibition at Aicon Gallery in Manhattan, he challenges the systematic exclusion of queer men of color from art history. Here, his figures claim the foreground with their bodies, donning flamboyant attires over their delicate physiques. The artist’s dandy types nonchalantly sip cocktails, zealously sway to music, or lazily lounge in their downtown apartments. Beauty, vulnerability, and power shines through each painting.

The quirkily titled Pale Sentinels: A Metaphor for Dialogue opened on 28 June at Aicon, its bold theme addressing Partition with critically acclaimed, award-winning Indian and Pakistani artists. 'Each artist in this group has, in one way or another, engaged with borders and constraints,' says Hashmi

Mr Khan is very determined not to box his work into any one particular category. His inspiration comes from his mindfulness of the details of everything around him.

From the quiet, impressionable surface of the moon to bustling London landmarks, Saad Qureshi’s sculpture, drawing, and installation art explores mental and physical landscapes. The artist’s work poetically probes cultural belonging, interconnectedness, and separation through scale, material, and metaphor.

The comedic play, The Birds, by the ancient Greek playwright Aristophanes, revolves around the quest of birds to create their own kingdom in the sky between the warring gods in heaven and tempestuous mortals on earth. Loosely inspired by the liminality—the interfacing of the threshold between two planes—of such an imagined space, Indian artist Surendran Nair’s new body of work in “Cuckoonebulopolis: (Flora and) Fauna,” presented in the artist’s first solo exhibition at Aicon Gallery, explores notions of indeterminacy and ambiguity, while intending to push the viewer to consider new hypothetical realms of possibilities.

One of the best ways to see the Washington, D.C.-based Nigerian-American artist Victor Ekpuk's large chalk mural at the North Carolina Museum of Art is to turn your back on it and look around the rest of the gallery it's in.

New York’s Aicon Gallery unveiled nearly half a century of work by the prolific Indian painter Anjolie Ela Menon in her first-ever retrospective exhibition in the United States. While the New Delhi-based artist has previously exhibited stateside, “A Retrospective” featured over 40 paintings and drawings from Menon’s oeuvre, offering American audiences a rare glimpse of early pieces borrowed from private collections alongside more recent works.

In an interview with artnet News, Menon elaborated on her roots, her spiritual inspiration, and her artistic practice.

We are delighted to offer our congratulations to artist and friend Saad Qureshi on his participation in the exhibition Tread Softly at Yorkshire Sculpture Park’s 40th anniversary. The exhibition will run from the May 27th through September 3rd, 2017.

A career spanning over five decades, Menon’s aim, as is witnessed in her bio is to “defy categorization”, which she has successfully achieved. Her work has distinct influences of Byzantine art, her figures reminiscent of icons seen in early Christian art with beautiful rendering of Indian themes. The amalgamation of the western style with the eastern subject is a visual treat for the senses and I wandered around the exhibition trying to soak up everything in one day.

The first North American solo exhibition of Ernest Mancoba included four small paintings ranging in date from 1958 to 1985 (one is undated) and some twenty works on paper (many of them likewise undated, but the others are mostly from the early 1990s), giving art lovers on this side of the Atlantic at least a nodding acquaintance with an oeuvre I suspect we are going to get to know much better in coming years.

From 1983 to 2009, a grisly civil war gripped the island nation of Sri Lanka. In the aftermath, 13 artists unpacked the trauma of war as part of the group exhibition “Portraits of Intervention” at Aicon Gallery in New York. Curator Bansie Vasvani said she was drawn to the organic quality of these artists’ responses to the bloodshed, as well as the variation in form found in those reactions.

In a distinctive career spanning more than five decades, the Pakistani-born, Britain-based artist, writer, publisher, and occasional curator Rasheed Araeen has like no other practitioner radically questioned the art world’s fixation on Western-dominated artistic histories and discourses.

For Mancoba, this freedom also meant release from art that had to look African or Western; he could forge what he saw as a utopian synthesis. Accordingly, the work at Aicon, all from after Cobra dissolved in 1951, thwarts easy cultural readings. In small oil paintings, abstract strokes and daubs of color coalesce into sketchy, featureless figures; in related ink drawings they resemble large-headed African sculptures. Other ink drawings are entirely abstract, made up cursive forms that, like characters from an imagery alphabet, spin and tumble across a page.

In a year marked by migration and displacement, artists at the Kochi-Muziris Biennale 2016 frame the idea of home and away.

The New York season saw some fine gallery shows.

Pakistanis have many many talents. Stalking, creeping and making up the most absurd things about other people. But other than that there are Pakistanis with real talent and they deserve as much of our attention for hustling and making themselves a name with their insane creativity.
Here’s our jaw-dropping list of amazing Pakistani artists that NEED to be followed right now.

The ongoing intriguing group show titled Delicate Bond of Steel is a result of the unique exchange between Chatterjee & Lal in Mumbai and Aicon Gallery in New York. The latter’s first gallery show in the country, hosted by the South Mumbai exhibition space, features works of several South Asian artists based out of Australia, the U.S., Bangladesh and India.

"Aicon Gallery, a New York space that focuses on South East Asian art in particular, will bring works by Rasheed Araeen, Saad Qureshi and Irfan Hassan to the capital. The gallery also participates in Art Dubai, but sees the proximity to the museums in the capital as an important reason also to attend Abu Dhabi Art."

"Mumbai’s Chatterjee and Lal and New York’s Aicon Gallery talk to us about their upcoming gallery swap and why it’s a refreshing change from art fairs."

"In times of turmoil between India and Pakistan, an artistic exchange seeks to promote harmony and highlight a common culture through art."

We are thrilled to announce the participation of Rasheed Araeen in the 57th Edition of the Venice Biennale, which runs from May 13 through November 26, 2017. Additionally, we are pleased to announce his participation in Documenta 14 in Athens, Greece from April 8 through July 16, 2017, and Kassel, Germany from June 10 to September 17. The projects will lead up to the opening of his major Retrospective at the Van Abbemuseum, Eindhoven, the Netherlands, which will run from December 2, 2017 to April 8, 2018.

"Tim Smith-Laing talks to Rasheed Araeen about six decades of art making, writing and publishing."

We are delighted to announce the New York premier of the first installment of BBC Four's documentary series Treasures of the Indus - Pakistan Unveiled, hosted by Sona Dutta, on Friday, October 21, 2016 at 6pm. 

We are delighted to announce that a special exhibition showcasing the full retrospective of the works of Rasheed Araeen will be held at the Van Abbe Museum in Eindhoven, Netherlands from December 2, 2017 through April 8, 2018. The exhibition will showcase 60 years of Araeen's works, including significant institutional and private loans, selections that form the artist’s archives, and works realized specifically for the exhibition

The selection of artwork is divided into two important sets - the first, from the artist’s early days in Karachi delving into the abstract scene that led to his groundbreaking introduction of the kinetic into Minimalist art. The second a series of new canvases exploring color-field, movement, and depth through checkered grids derived from traditional Islamic architectural and textile patterning. When combined together these form a trajectory mapping the artist’s 60 year long constantly evolving and highly dynamic oeuvre and artistic career.

Aicon Gallery is delighted to offer our warmest congratulations to artist and friend Saad Qureshi on being commissioned by NOVA to create a major new site-specific public installation for the district of Victoria in Central London. The project launches on November 22, 2016 and "looks at the portability of landscapes, and the human mind as a vehicle that allows places to travel, to be carried in the memory from one location to another,” Qureshi explains.

We are delighted to announce the participation of Salman Toor in the 2016 edition of the prestigious Kochi-Muziris Biennale, which runs from December 12, 2016 through March 29, 2017. Toor's work, installed in the Aspinwall section of the Biennale, will consist of a large installation of works on canvas both inspired by and presented alongside his multi-media collaboration with exiled Pakistani poet Hasan Mujtaba, which was born of the artist's 2015 exhibition Resident Alien at Aicon Gallery, New York.

We are excited to announce the inclusion of Rasheed Araeen in the upcoming exhibition Postwar: Art Between the Pacific and the Atlantic, 1945 - 1965, on view at Haus de Kunst, Munich, Germany from October 14, 2016 through March 26, 2017. Alongside Araeen's works My First Sculpture (1959) and Burning Bicycle Tires (1959-61), the exhibition features the work of Joseph Beuys, Robert Rauschenberg and many others. "The exhibition examines the vibrant and turbulent postwar period as a global phenomenon for the first time in recent exhibition history. In eight dramatic chapters, the exhibition guides visitors through the first 20 years following the end of World War II..."

We are pleased to annouce that Rasheed Araeen will be speaking at the Guggenheim New York on Friday Sept. 23, 2016 at 2pm as part of the museum's seires of lectures (De)Coupling as Discourse on the Global South, taking place concurrent with the exhibition But a Storm is Blowing from Paradise, on view until October 5, 2016. The discussion, organized by Sara Raza, will explore "the autonomous rise of contemporary art in the Global South, this two-day symposium traces aesthetic and contextual change to identify an elastic discourse around global visual culture."

I fell in love with Pakistani Art in New York City. Pakistan has once again made headlines in New York City, but this time it’s for a good reason. Go Figureis a group show of young aspiring artists from Pakistan, showcased at Aicon Art Gallery in the East Village area of the city.

Putting South Asian, North African, and Middle Eastern artists in dialogue with the canon of Minimalism complicates its history in order to argue for its reframing today.

We are delighted to announce that Rasheed Araeen's work Lovers (1968) is now on view in the exhibition Between Object and Architecture (June 16-October 14, 2016) at the Tate Modern in London. 

Aicon Gallery is proud to announce the most recent set of insitutional acquistions by artist Rasheed Araeen. Since Araeen's last solo exhibition, Minimalism Then and Now, held at Aicon Gallery in May, 2015, we are delighted to have placed his work with the following collections. The Guggenheim, Abu Dhabi - Chakras (1969-70), The Albright-Knox Art Gallery, Buffalo, NY - Pehli Si Muhabut (1971/2015), The Kiran Nadar Museum of Art, New Delhi - Rang Baranga II (1969/2014), The Metropolitan Museum of Art, New York - Chaar Yaar II (1968), and The Art Institute of Chicago, IL - Punj Neelay (1970).

The recent Met Breuer survey of work by the Indian artist Nasreen Mohamedi (1937-1990) was a first exposure for many New Yorkers to a Minimalist-style strain in contemporary South Asian art. In reality, the presence of that aesthetic has long been,and continues to be, substantial, as this tender show at the Aicon Gallery, “Between Structure and Matter: Other Minimal Futures,” demonstrates.

Between Structure and Matter: Other Minimal Futures,” on view through July 2 at Aicon Gallery in New York, attempts to flip this attitude forward and outward, strategically pushing the past into and through an expanded present. Citing the historian of minimalism James Meyer, for whom the movement was fundamentally irreducible — a “field of difference,” as he wrote his 2001 volume “Minimalism: Art and Polemics in the Sixties” — exhibition co-curator Murtaza Vali stated on a recent afternoon at the gallery his belief that “other minimal futures are possible, and here are some examples of how it has happened

We are pleased to announce that Rasheed Araeen's work will be on view in the exhibition Defining Sculpture at the Albright-Knox Art Gallery in Buffalo, New York. The exhibition, which centers around the question of "What sculpture is and is not" runs from June 18 - October 9, 2016, and is comprised of work from the museum's permanent collection, featuring artists such as Robert Rauschenberg, Claes Oldenburg, Tara Donovan, and many others. Araeen's work was acquired by the museum for their permanent collection in Spring of 2015.

Curated by Murtaza Vali and Prajit Dutta, this exhibition features artists hailing from or affiliated with South Asia and the broader Middle East. It focuses on Minimalism as a capacious philosophical concept that draws together non-Western practitioners from different generations. The works end up defying this aesthetic categorization, however, as there is a subtle emotional tactility throughout the show that enables content—personal, political—that, of course, runs counter to chilly, textbook Minimalism.

Similarly, only Aicon Gallery, isolated on a block near the Bowery, is likely to come up with the focused look at the Indian modernist S. H. Raza that it gives us here.

Aicon Gallery congratulates artists Nadia Kaabi-Linke and Mohammed Kazem on their participation in the  Guggenheim New York's first major survey of art from North Africa and the Middle East, But a Storm is Blowing from Paradise, running from April 29 - October 5, 2016. We are honored to be showing both artists, concurrent with the Guggenheim, in our exhibition Between Structure and Matter: Other Minimal Futures, on view from May 26 - July 2, 2016. The Guggenheim exhibition "through painting, drawing, sculpture, installation and video...presents a spectrum of artistic voices and critical concerns from a rapidly evolving region."

Concurrent with the display of La prière des absents in Marrakech, in New York the artist recently had a solo exhibition at Aicon Gallery, Love Side by Side with the Soul, where one could come closer to the surface of his vases and view them with other works, such as a series of banners called The Invisible Masters. Yet in spite of the ability to almost touch the ceramics in New York, one still cannot easily read all the words. Standing close to one vase from La prière, one could just make out the name of the artist’s mother, Rahima, repeating in reverse, and force oneself to read other words backward.

Rachid Koraichi, who has been widely exhibited internationally for decades, is only now having his first New York solo exhibition. Born in Algeria in 1947, he came from a family of Quranic scholars and copyists in a Sufi tradition. He trained as a calligrapher before studying painting and printmaking in Paris in the 1970s and has made the written word, as a conveyor of spiritual philosophy, poetry and politics, his primary medium. Just as language serves as a visual binder in many Islamic cultures, so it does in Mr. Koraichi’s formally diverse but completely of-a-piece show, “Love Side by Side With the Soul,” at Aicon Gallery.

Aicon Gallery congratulates artist Rachid Koraichi on his participation in the 2016 Marrakech Biennale, Not New Now, running from Feburary 24 - August 5, 2016. During the Biennale's run, we are honored to be hosting the first major showing of Koraichi's work in New York, in collaboration with October Gallery, London, with the exhibition Rachid Koraichi | Love Side by Side with the Soul, on view from March 3 - April 16, 2016.

Rekha Rodwittiya’s iconic female figures loom large. An amalgamation of Indian classical and tribal images, Rodwittiya’s asexual goddesses evade easy categorization. Currently in her solo exhibition Rituals of Memory at Aicon Gallery, they command an uncanny presence and beg scrutiny.

Prominent Baroda-based feminist artist Rekha Rodwittiya, who is the founder of The Collective Studio Baroda, is back here after two decades with a major exhibition at the Aicon Gallery, ‘The Rituals of Memory: Personal Folklores and Other Tales’, which runs from Feb. 4 through Feb. 27th.

Rasheed Araeen should not need an introduction: he is one of the foremost pioneers of Minimalist sculpture in Britain. And yet, (with his first exhibition in Asia taking place now at Rossi & Rossi, Hong Kong), that there is a need to introduce Araeen refers to something that has driven at least part of this artist's 50-year career.

Salman Toor is the best kind of contemporary painter: funny, insightful, and not afraid to get personal. His colorful, figurative images are both intimate and relatable, featuring crowds of people engaging in romantic or imaginative adventures, filled with references to the artist’s many travels and international background.

New York City has facilitated my cobbling together of seemingly divergent understandings of developing societies seething in turmoil, along with the microcosms of cultures like Brooklyn’s art scene. Since I left Lahore, my work has developed in more abstract directions in order to host and superimpose imagined narratives and homelands in which personal and global concerns intersect.

Salman Toor’s insular scenes of life in Pakistan have vanished. Instead ghosts, hobos, poets, exiles, counts, ascetics, rabble-rousers, vagrants, and partygoers inhabit a no-man’s-land where time stands still. In Toor’s second solo exhibition at New York’s Aicon Gallery, Resident Alien, an artist possessed by a spirit to experiment and plunge into a new world has emerged.

The Kominas brought the curtain down on Asian Contemporary Arts Week at the Aicon Gallery on November 8 surrounded by the exhibition of works from Salman Toor. Like some of Toor's art on the wall, the Kominas tackle racism, Islamophobia, American paranoia and stereotypes (the name of their latest album is, indeed, Stereotype). A fierce rock band in the classic punk vein, the Kominas's audience was flailing along with the band's energetic performance.

A mini-retrospective of M.F. Husain — the celebrated and colorfully controversial Indian painter who died in London in 2011, at the age of 95 — runs through October 24 at Aicon Gallery in NoHo. Covering six decades in approximately 24 paintings, the show affords a rarely seen overview of India’s Picasso, with excellent examples from every decade of his wildly prolific oeuvre.

Since his beginnings in the 1940s, Husain sought to radically redefine and redirect the course of Indian painting, paving the way for Modern Indian art’s now recognized presence on the international stage.

Acknowledgement for octogenarian Rasheed Araeen’s contribution to Minimalism is long overdue. Marginalised and overshadowed for the most part by American stalwarts such as Sol
LeWitt, Carl Andre and Donald Judd, the pioneers of the movement during the 1960s, Araeen’s institutional recognition has only been recent.

Overlooked amid all these accomplishments was Mr. Araeen’s art, a selection of which is at Aicon Gallery inhis first New York solo exhibition. Trained as a civil engineer, he became an artist after seeing Anthony Caro’s sculptures. His own early pieces combined Mr. Caro’s use of industrial materials with openwork structures adapted from architecture. In the early 1960s he developed a version of what would come to be called Minimalism before its introduction in New York by Donald Judd and others.

THE DAILY PIC: I raved about the British Minimalism of Rasheed Araeenwhen it was on view last year in the Jewish Museum group show called “Other Primary Structured". Now Araeen has a solo at Aicon Gallery in New York; it includes today's Daily Pic, titled First Structure and conceived in 1966-67 (i.e., at the same moment when New York's Minimal art was coming together).

With art from regions as diverse as Africa, Eastern Europe, the MIddle East, and South Africa, the ninth Dubai Art Fair 2015 established its credentials as a global player.

At the Art Dubai 2015, Pakistani artists in significant numbers sought to introduce different facades of social, political and religious realities.

After Sheikh Hamdan bin Mohammed bin Rashid posted a picture of this beautiful work on social media, it quickly became the fair’s most photographed piece of art. The suspended black cube, laser-cut with Islamic patterns that cast shadows on the wall from a single light bulb within it, is a 2014 piece by Pakistani artist Agha and was exhibited by Aicon Gallery from New York. Throughout the event, streams of people gathered around it to catch it at the best angle.

At a time when cultural frontiers are closing and horizons narrowing, Art Dubai is broadening the international conversation about art. For that reason it is the world’s most important and radical art fair.

Aicon Gallery, a New York and London-based gallery that specialises in art from the Indian subcontinent is one of the 97 galleries bringing their art to Art Dubai next week. Interestingly, Harry Hutchison, the gallery director decided that as well as the four day fair, he would collaborate with a local gallery Empty 10 to put on a short exhibition preceding the fair. I find this a fascinating way to penetrate the local audience and so, ahead of the VIP opening tomorrow night, I caught up with him for a chat.

Aicon Gallery is a contemporary art gallery specializing in emerging Indian and Pakistani artists. Formerly Gallery ArtsIndia, Aicon Gallery was one of the first platforms for Indian art in the United States. Today, the primary goal of the gallery is to foster dialogue between South Asian and Western art at their New York and London locations.

The Aicon exhibition illuminates the astonishing fluidity with which Suri moves between worlds. "I like his drive, which goes in so many directions — writing, music, visual arts," says Salman Rushdie, the author with whom Suri has kindled an unlikely friendship. "And he's helped me to get a better understanding of a younger generation of Indian Americans.

The show fuses Pakistani with Indian, Islam with Hinduism and North American with South Asian, without highlighting the major chasms separating these dichotomies in the Eastern world. The subtext of the works largely communicate with Suri’s music: both are compendiums of deep knowledge of pop culture and both American and South Asian.

57 Great Jones is also just a block away from the Aicon Gallery, where as part of the lead-up to his first full-length solo album, Eat Pray Thug, Heems curated an art show of the same name, featuring desi artists like Ratna Gupta, Ranbir Kaleka and Abdullah MI Syed — as well as art he created in partnership with Chiraag Bhakta, aka Pardon My Hindi. As in his music, Heems’ visual art references borrow heavily from his north Indian family’s experience in the United States.

Now, however, Suri has jumped into the (marginally) more serious business of curating his own gallery show: “Eat Pray Thug,” the same moniker he’s given his forthcoming solo album, which runs through March 10 at Aicon Gallery on Great Jones Street. The multimedia group show of artists with ties to India and Pakistan, including Suri himself, also features a parallel series of live events, including an appearance from Muslim punk band The Kominas on March 7.

This show is really cool, we have American artists, Indian artists, Pakistani artists. It’s interesting to see it all together and how they interact,” Bhakta said. “Instead of putting us in an ‘Indian’ bucket, this show is trying to burst that bubble. That first layer of American culture is pretty special. We are not Indian, we are American. It’s cool to experiment with that and see what comes out of it.

The art fair season in Asia ushers in a new exciting year for contemporary art, starting with Art Stage Singapore and the India Art Fair taking place back-to-back during the last week of January 2015. Art Radar caught up with 6 galleries hailing from different corners of the world to find out about their participation in both fairs and what draws them to Asia

The show is a collection of etchings and silkscreen prints that thrived on shared experiences of looking, and of semblance. As arbitrators and translators of their respective cultures, the artists, through their works, revealed a yearning for a kind of order. Collectively their works swayed between the creating and breaking of repetitive forms and grids.

Aicon Gallery in downtown Manhattan currently has an excellent exhibition up, Readymade: Contemporary Art from Bangladesh. It’s the obscure object of my art desire: a summer show offering a take on materials and craft that ranges from the familiar to the utopian-exotic. That the show seems to stand in for real politics with an indignant view of the use and abuse of labor, activism, and the status of women in Bangladesh — and that it does all this while hinting that it’s just the tip of the sinking iceberg — make Readymade a must-see.

The Bangladeshi contemporary art scene began to grow in the 1990s, twenty years after the country gained independence from Pakistan in 1971. Today, Dhaka burgeons with young talent, with new art venues sprouting up alongside established art spaces. The exhibition “Readymade” features nine exciting Bangladeshi artists who explore diverse social, political and economic issues in their country.

Aicon Gallery’s first solo exhibition in New York of contemporary art from Bangladesh is off to a good start. Tilted “Readymade,” which consists of work by established and emerging artists compressed into a relatively short time frame that began after Bangladesh gained independence from Pakistan in 1971, displays an art scene edgy for its political content, talent and imagination.

Comprising twenty seven paintings and three drawings, the show is dominated by a collection of paintings from the 1960s, when Sadequain lived and worked in Paris. Titled The Lost Exhibition, this set of eight paintings are dancing figures of calligraphy; lyrical despite their scale.

Similarities in approaches and content of this art with parallel situations elsewhere are such that the general resonance of conflict and change, vagueness and clarity, mix of Eastern and Western vocabulary, hybridity and mutation is easily identifiable. New generation artists are flexible and free from the weight of traditional art methodologies. Using renewed methods of thinking and addressing problems to create relevant art, they are creating a vocabulary that global audiences are also able to understand, and relate to.

The London-based artist Saad Qureshi shows his latest mixed media works at Manhattan’s South Asian art hotspot, Aicon Gallery, until the end of this month. Although he is trying to adopt a more universal visual language, his work remains, like so many Pakistani artists, rooted in the rich cultural metaphors and latent violence of his country of origin.

Starting with his own memory that Qureshi builds his amalgamated version of traditional tales presented in mythical landscapes and structures that marry seamlessly Islamic and Christian imagery. I found the works arresting and richly layered with not only memory of a culture but brimming with fresh possibilities.

Doyle New York’s November 13, 2012 auction of Modern and Contemporary Art auction presented a wide range of paintings and sculpture by some of the 20th and 21st centuries' most prominent artists. Works by American, European, Latin American and Asian artists encompassed artistic movements from Cubism and Expressionism through the present day. The sale set another world auction record for the Indian/American artist Natvar Bhavsar (b. 1934) when a large abstract from 2000 titled Sundervana sold for a record $53,125 against an estimate of $20,000-30,000.