During a time when many of her contemporaries were engaged in the figurative tradition, Nasreen Mohamedi’s clean, minimalist approach, that first emerged in her oil paintings and later in her ink and graphite drawings and photographs was a revelation. With an architect’s sensibility and through the language of geometry, she developed a highly personalized vocabulary to record her perceptions of the world. “In the history of Indian Modernism, Nasreen Mohamedi is a distinct figure who broke away from the mainstream art practice of the early decades of post-Independent India, choosing the less explored trajectory of the non-representational. Without engaging in reconfiguring the world in images, Nasreen was drawn to "space" and her art was inspired by both man-made environments, especially architecture, geometry as well as the underlying structures in Nature. The optical, metaphysical and mystical overlapped in her quest for a non-objective, non-material world” (R. Karode, ‘A view to infinity NASREEN MOHAMEDI: A Retrospective', Kiran Nadar Museum of Art website, accessed July 2020).
Across her practice, Mohamedi's work was always “marked by rigours of self-discipline and self-restraint. Through acts of renunciation – of figures, objects, narration, decoration and excess, she arrived at an interiorized vision articulated in a sparse aesthetics and frugal means of art making, using pencil and ink pen to plot a phenomenological experience and breathe life into her lines, that often remained restless and always at the edge to embrace a view to infinity” (R. Karode, Kiran Nadar Museum of Art website, accessed July 2020).