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The New Yorker

The Indian artist invests abstraction with the weight of the natural world through the slow, controlled application of air and water. Panels of graphite have been eroded by dripping liquid; fiberglass panels are covered with seemingly infinite nodules of paint, aided by currents of wind. (The varying densities suggest a topographic map of a planet far more elegant than earth.) Two sculptures on the floor continue to connect the natural to the man-made. In “Shell as Body,” a terra-cotta carapace surrounds a mysterious cavity, while the more unnerving “Body as Shell” is a crumpled sandstone cast of the artist’s body.

-The New Yorker