Meghaa Parvathy Ballakrishnen

Meghaa Parvathy Ballakrishnen is incoming Assistant Professor of Art History at the University of Rochester.

Salman Toor’s sprawling new show at Luhring Augustine is heartbreaking. Two venues—the Chelsea location devoted to paintings and Tribeca to prints and works in charcoal, ink, and gouache on paper—span the artist’s new interest in breaking and loosening his art. 

Salman Toor, The Islanders, 2025. Oil on panel, 31 x 27 inches. © Salman Toor; Courtesy the artist, Luhring Augustine, New York, and Thomas Dane Gallery. Photo: Farzad Owrang.
It is a comprehensive introduction to her art, bringing together not only each decade, but also most mediums, of Mohamedi’s career: an early portrait in felt tip on paper; three sleek oil paintings; a lithograph; two collages; a few works on graph paper; and several photographs, watercolors, and drawings. Though Mohamedi abdicates the represented body, her art continues to represent its physicality, and her works swoop, swim, and levitate across the room.
Nasreen Mohamedi, Untitled, 1980. Ink and graphite on paper, 20 x 27.25 inches. Courtesy Glenbarra Museum of Art.
Fault Lines, which brings together 12 works by five artists, is the first exhibition in this country dedicated to the remarkable phenomenon of rigorous abstraction among women artists with roots in South Asia.
Left to right: Zarina, Hanging in There, 2000. Wire and linen thread. Courtesy the artist and Luhring Augustine, New York. Nasreen Mohamedi, Untitled, c. 1984 and Untitled, c. 1985. Both ink and graphite on paper. Peabody Essex Museum, Salem. Courtesy the Philadelphia Museum of Art. Photo: Joseph Hu, 2020.

Close

Home