"...if people, especially young artists, knew about Mohamedi, they would love her the way they do Eva Hesse. But then, the whole story of modern Indian art, so rich and complex, is still barely acknowledged in New York, making galleries that specialize in it, like Talwar, invaluable additions to the city’s art culture."

Holland Cotter, The New York Times

“I found them [Mohamedi’s Photographs] extraordinary. They hover between figuration and abstraction, and in many ways remind me of Ellsworth Kelly’s photography. But they came from a totally different cultural perspective and a part of the world whose modernist history I didn’t know...I also loved that her images are humble, not bombastic or big. It was something that really stayed with me—that a humble work can also seem monumental.

Later when I saw her drawings and paintings, they all seemed so rigorous, so radical. While they deal with seriality, repetition and abstraction, they are as far removed as possible from Minimalism. There is a system in them, but one directed by human decision, by mistake, by something extremely organic.

Like Mira Schendel, Mohamedi changed my understanding of modernism. Modernism is often thought of as starting somewhere in Europe, let’s say France—not to be biased at all—and then proceeding in a linear progression, from Dada and Cubism through Conceptual Art, Minimaliism, Pop. But then you have an artist whose work might parallel Ellsworth Kelly’s but who came from India and, further, who was a woman in India. And that is fascinating to me—that in an extremely patriarchal culture, this woman was doing such strong, important work.”

Philippe Vergne

"As to Mohamedi herself, she broke essentialist ideas of what Indian art should look like, engaged with advanced international art of her day, and left a profoundly personal body of work..."

THE NEW YORK TIMES