Shahzia Sikander

Shahzia Sikander
Born	1969 (age 54–55) Lahore, Pakistan
Alma mater	National College of Arts Lahore, Rhode Island School of Design
Known for	Visual Art, Contemporary art
Awards	MacArthur Fellowship
Website	http://www.shahziasikander.com/

Shahzia Sikander (born 1969, Lahore, Pakistan) is a Pakistani-American visual artist. Sikander works across a variety of mediums, including drawing, painting, printmaking, animation, installation, performance and video. Sikander currently lives and works in New York City.

Education

Sikander studied at The National College of Arts Lahore in Pakistan, where she was taught the traditional discipline of Indo-Persian miniature painting. ^[1] She earned a Bachelor of Fine Arts in 1991. ^[2] Sikander moved to the United States and attended the Rhode Island School of Design (RISD), earning a Master of Fine Arts in Painting and Printmaking in 1995. ^{[3] [4]}

Early work

Initially I explored the tension between illustration and fine art when I first encountered miniature painting in my late teens. Championing the formal aspects of the Indo-Persian miniature-painting genre has often been at the core of my practice.

— Shahzia Sikander, ^[5]

As an undergraduate student in Lahore, Shahzia Sikander studied the techniques of Persian and Mughal Indo-Persian manuscript painting, often integrating traditional forms of Mughal (Islamic) and Rajput (Hindu) styles and culture. ^[6] The traditional form of miniature painting requires equal measures of discipline, gesture and expression in order to execute a careful layering of color and detail. Compositionally, miniature paintings exhibit an extensive display of colorful imagery, including human forms, animals, patterns, shapes, dots and connecting lines. Miniature paintings often engage in contextual complexities such as religious narrative, scenes of battles and court life. Sikander has integrated the techniques and forms of traditional miniature painting, relying on the layering of images and metaphor to drive her work. Her forms and figures exhibit a quality of continual morphing as transparent imagery is layered, providing a complexity with endless shifts in perception. Sikander's complex compositions "dismantle hierarchical assumptions and subverts the very notion of a singular, fixed identity of figures and forms." ^[7]

The Scroll, 1992, is a semi-autobiographical manuscript painting. The Scroll Sikander's thesis project at the National College of Arts, includes formal elements of historical manuscript painting. ^[8] The Scroll portrays scenes of everyday contemporary Pakistani life, including rituals that explore cultural and geographic traditions. ^[8] Many hues, patterns and incidents appear in The Scroll, identifying Sikander's attention to small detail, muted color palettes, and understanding of architectural elements juxtaposed with the intimacies of domestic culture. ^[8] The use of perspective is increasingly noticeable, exhibiting a linear movement of composition. ^[9] Common concerns of economics, imperialism, colonialism, sexualism and identity are also apparent in Sikander's early paintings. The Scroll launched what has come to be called the neo-miniature. ^[10]

Sikander's attention to detail and formalism assist in the contextualization of her miniature paintings, stemming from an interest in labor, process and memory. Earlier paintings also include elements of Gopi, or the cowherd female devotees and lovers of the deity Krishna in Hindu mythology, while figures of men are depicted as "turbaned warriors." ^[11] The Gopi is portrayed in Sikander's early miniature paintings to "locate visual and symbolic forms within miniature painting that have the potential to generate multiple meanings." ^[12] Shahzia Sikander's most significant use of Gopi can be seen in a series of drawings and digital animation from 2003, titled Spinn. In the animation, the characters multiply and their hair separates from their bodies, creating an abstracted form of hair silhouettes. Sikander explores the relationship between the present and the past, including the richness of multicultural identities. Appropriations for Sikander function to move Indo-Persian artistic traditions into the future. The extraction and abstraction of traditional motifs create endless shifts in perception that challenge the linearity of any colonial or postcolonial narrative. Integrated with both personal and social histories, her work invites multiple meanings, operating in a state of constant flux and transition. ^[13]

Digital animation

Drawing is a fundamental element of my process, a basic tool for exploration. I construct most of my work, including patterns of thinking, via drawing. Ideas housed on paper are often put into motion in the video animations, creating a form of disruption as a means to engage. I also stayed true to layering, a concept running throughout my practice. For the making of video animations, I went back to the fundamental use of ink drawings, crafting form out of color and gouache, scanning and threading them via movement. The breakdown of form also gives a stationary drawing the illusion of transformation, which as a topic has given me a lot of space to experiment and imagine throughout my work.

— Shahzia Sikander, ^[14]

Similarly to her miniature paintings, Sikander relies on the process of layering to create digital animation. Formal elements of technique, layering and movement of the digital animations help to unhinge the "absolute of contrasts such as Western/non-Western, past/present, miniature/scale." Sikander explains her appreciation for the process of layering in digital animation, allowing the narrative to remain suspended and open for reinterpretation. Sikander is very patient with her work, some taking months, even years to finish. Sikander states; "The purpose is to point out, and not necessarily define. I find this attitude a useful way to navigate the complex and often deeply rooted cultural and sociopolitical stances that envelop us twenty-four hours and day, seven days a week." ^[15]

Performance art and installations

I think context, location matters a lot. Because location obviously in my situation, it's the space in which the work is going to be exhibited. And since some of the work I do is created onsite, it requires a different type of space, versus the smaller drawings or more subject-oriented work. So that the context becomes important.

— Shahzia Sikander, ^[16]

As a female Muslim artist, Shahzia Sikander often had to endure stereotyping among her community. The veil (a scarf often worn by Muslim women) covers the hair and neck and is symbolic of both religion and womanhood. Sikander's miniature paintings often refer to the veil, exploring her own religious history and cultural identity. In a performance piece, Sikander wore an elaborate lace veil for several weeks while documenting the reaction of her peers. Sikander explains that the veil gave her an ultimate sense of security, stating that, "It was wonderful to not have people see my facial or body language, and at the same time be in control and know that they did not know I was acting, and checking their reaction." ^[17]

Imagery of the traditional Muslim veil occur throughout Sikander's compositions. Her larger works are reminiscent of a centuries-old Indian practice in which women regularly paint figures all over the walls and floors of their houses, using "whole body" gestural movements. Sikander uses large drawings as the basis for her large-scale installations, often requiring months to complete. Nemesis, a site-specific installation at the Frances Young Tang Teaching Museum and Art Gallery, features a jewel-like paintings as small as six by eight inches and two animations. ^[18] Sikander was commissioned to create two large public art pieces for Princeton University, which were revealed in 2017. One is Quintuplet Effect, a painting on layered glass which can be seen in the Julis Romo Rabinowitz Building. The other is Ecstasy as Sublime, Heart as Vector, a sixty-six-foot-tall mosaic in the Louis A. Simpson International Building. ^{[19] [ better source needed ]}

Sikander places a strong emphasis on feminist messaging in her artwork, often using it as an avenue to initiate discussions surrounding religion and politics. As a muslim woman living in New York in the midst of the aftermath of 9/11, Sikander made note of the growing interest in middle eastern women and islam in the west through her art.  In Pleasure Pillars, Sikander makes a clear reference to the destruction of the twin towers in 2001 as the women in the painting are depicted shooting beams and creating explosions. ^[20] Throughout her portfolio, she depicts women with incomplete bodies and mythological features, such as horns. This can also be seen in her mural, The Perennial Gaze, in which the woman is embraced by a gold, androgynous, headless body. Sikander utilizes the human body to push the boundaries between what is praised as masculine and feminine, highlighting the sensual qualities of the female form and how it is often overshadowed.

In 2023, Sikander was commissioned to create a statue for Madison Square in New York. In this installation, a statue of a golden armless floating woman with ram horns is held up by a skirt covered in a mosaic. This installation,  “Havah ... .to breathe air, life,” received a mixture of praise and criticism from viewers as the United States continues to be in a legislative battle on women’s reproductive rights, specifically abortion rights. This sculpture is interpreted to be in conversation to female reproductive rights from the title. Havah has two meanings, in Urdu it translates to air or Eve. Coupled with the allusions of the woman’s body connected to nature, many viewers interpret the sculpture in relation to female reproduction as the female body is understood as the vessel of human life. In an interview Sikander refers to Eve as “the first law breaker,” ^[21] though she shares no clear political affiliation or opinions on the topic in particular. Rather, Sikander created the sculpture to start a conversation and have the meaning reveal itself, as she explains she “thrive[es] on hearing what happens over time.” ^[21] The sculpture, Witness, was later relocated to the University of Houston, where it drew criticism from the anti-abortion Christian group Texas Right to Life. ^[22] Sikander stated that viewers may have "misread the symbolism behind her artwork, which includes hornlike braids, tentacle arms and a lace collar. Her intention was not specifically to comment on abortion or Supreme Court justices, but rather to create a broader message about a woman’s power in the justice system". In July 2024, the sculpture was vandalized and beheaded. ^[23]

Exhibitions

Solo exhibitions

Select solo exhibitions

Year	Name	Location	Type	Notes
1993		Pakistan Embassy, Washington, D.C., United States	Government gallery	[24]
1996	Art Celebration 96: Shahzia Sikander	Barbara Davis Gallery, Houston, Texas, United States	Gallery	[24]
1996	Knock Knock Who's There? Mithilia, Mithilia Who?	Project Row Houses, Houston, Texas, United States	Non-profit gallery	[24]
1997	A Kind of Slight and Pleasing Dislocation	Hosfelt Gallery, San Francisco, California, United States	Gallery	[24]
1997	Murals and Miniatures	Deitch Projects, New York, New York, United States	Gallery	[24] [25]
1998	Shahzia Sikander: Drawings and Miniatures	Kemper Museum of Contemporary Art, Kansas City, Missouri, United States	Museum	[24]
1998	Shahzia Sikander	The Renaissance Society at the University of Chicago, Chicago, Illinois, United States	College gallery	[26]
1999	Directions: Shahzia Sikander	Hirshhorn Museum and Sculpture Garden, Washington, D.C., United States	Museum	[26]
2000	Shahzia Sikander: Acts of Balance	Whitney Museum of American Art at Philip Morris, New York, New York, United States	Museum	[27] [28] [29]
2001	Intimacy	ArtPace, San Antonio, Texas, United States	Non-profit gallery	[24]
2003	SpiNN	Brent Sikkema, New York, New York, United States	Gallery	[24]
2003	Drawing to Drawing	Hosfelt Gallery, San Francisco, California, United States	Gallery
2004	Contemporary Links: Shahzia Sikander	San Diego Museum of Art, San Diego, California, United States	Museum
2004	Shahzia Sikander: Flip Flop	San Diego Museum of Art, San Diego, California, United States	Museum	This was a three-part installation. [30]
2004–2005	Shahzia Sikander: Nemesis	Aldrich Contemporary Art Museum, Ridgefield, Connecticut, United States	Museum	organized by Ian Berry and Jessica Hough [31]
2004	Shahzia Sikander: Nemesis	The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York, United States	Museum	[31]
2005–2006	Shahzia Sikander: Nemesis	Pérez Art Museum Miami (PAMM), Miami, Florida, United States	Museum	[32]
2005	Dissonance to Detour	Otis College of Art and Design, Los Angeles, California, United States	College gallery
2005	51 Ways of Looking	Brent Sikkema New York, New York, United States	Gallery
2005	Shahzia Sikander: New Work	Sikkema Jenkins & Co. New York, New York, United States	Gallery	[24]
2006	Shahzia Sikander: Solo Exhibition	The Fabric Workshop and Museum, Philadelphia, Pennsylvania, United States	Museum	[33]
2007	Shahzia Sikander	Irish Museum of Modern Art (IMMA), Dublin, Ireland	Museum	[34]
2007–2008	Shahzia Sikander	Museum of Contemporary Art, Sydney (MCA), Australia	Museum	[35]
2008	Intimate Ambivalence	IKON Gallery, Birmingham, United Kingdom	Gallery
2009	Stalemate	Sikkema Jenkins & Co. New York, New York, United States	Gallery	[24]
2009	Shahzia Sikander Selects: Works from the Permanent Collection	Cooper-Hewitt, National Design Museum. New York, New York, United States	Museum	[36]
2009	Shahzia Sikander: 'I am also not my own enemy'	Pilar Corrias, London, United Kingdom	Gallery	[37]
2011	Shahzia Sikander: The Exploding Company Man and Other Abstractions	Walter and McBean Galleries, San Francisco Art Institute, San Francisco, California, United States	College gallery	Curated by Hou Hanru [38] [39]
2011	Shahzia Sikander: The Exploding Company Man and Other Abstractions	Bakalar & Paine Galleries, MassArt, Boston, Massachusetts, United States	College gallery	Curated by Hou Hanru [39]
2014	Shahzia Sikander: Parallax	Bildmuseet, Umeå University, Umea, Sweden	College gallery	"Shahzia Sikander: Parallax" was first shown at this location, a multichannel video animation with original score. [40]
2015	Shahzia Sikander: Parallax	Guggenheim Museum Bilbao, Spain	Museum	a multichannel video animation with original score [41]
2016	Shahzia Sikander: Ecstasy As Sublime, Heart As Vector	MAXXI, Rome, Italy	Museum	[42]
2021	Shahzia Sikander: Extraordinary Realities	Morgan Library & Museum, New York, United States	Museum	[43]
2021-2022	Shahzia Sikander: Unbound	Jesus College West Court Gallery, Cambridge, United Kingdom	Museum	[44]

Group exhibitions

Select group exhibitions

Year	Name	Location	Type	Notes
1994	A Selection of Contemporary Paintings from Pakistan	Pacific Asia Museum, Pasadena, California, United States	Museum	[24]
2002	time/frame	Jack S. Blanton Museum of Art, University of Texas at Austin, Austin, Texas, United States	College museum	[45]
2002	Drawing Now: Eight Propositions	Museum of Modern Art, Queens, New York, United States	Museum	[46]
2005	Fatal Love: South Asian American Art Now	Queens Museum of Art, Queens, New York, United States	Museum	[47]
2006	Dirty Yoga: The Fifth Taipei Biennial	Taipei Biennial, Taipei, Taiwan	Biennial	[48]
2007	Global Feminisms	Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, Brooklyn, New York, United States	College museum	Feminist art work from 1990 and onward, created in various art media including sculpture, painting, drawing, photography, video, installation, and performance. [49] [50]
2007	Global Feminisms	Davis Museum and Cultural Center, Wellesley College, Wellesley, Massachusetts, United States	College Museum	[51]
2007	Not For Sale	MoMA PS1, Long Island City, New York, United States	Museum	[52]
2008	Order. Desire. Light: An Exhibition of Contemporary Drawings	Irish Museum of Modern Art (IMMA), Dublin, Ireland	Museum	[53]
2009	Compass in Hand: Selections from the Judith Rothschild Foundation Contemporary Drawings Collection,	Museum of Modern Art (MOMA), New York, New York, United States	Museum	[54]
2009	Moving Perspectives: Shahzia Sikander and Sun Xun	Sackler Gallery, The Smithsonian, Washington D.C., United States	Museum	[55]

Awards and fellowships

• 1995-1997- Core Fellowship, Glassel School of Art, Museum of Fine Arts, Houston ^{[56] [ better source needed ]}
• 1997- The Louis Comfort Tiffany Foundation Award ^[4]
• 1998- The Joan Mitchell Award ^[57]
• 1999- South Asian Women's Creative Collective Achievement Award ^{[56] [ better source needed ]}
• 2003- Commendation Award, Mayor's Office, City of New York ^{[56] [ better source needed ]}
• 2005- Jennifer Howard Coleman Distinguished Lectureship and Residency ^{[56] [ better source needed ]}
• 2005- Tamgha-e-imtiaz, National Medal of Honor, Government of Pakistan ^[4]
• 2006- John D. and Catherine T. MacArthur Foundation Fellowship ^[58]
• 2006- Young Global Leader, World Economic Forum ^[4]
• 2008- Performing and Visual Arts Achiever of the Year award presented by the South Asian Excellence Awards, 2008 ^{[56] [ better source needed ]}
• 2009- Rockefeller Foundation Bellagio Center Creative Arts Fellowship ^{[56] [ better source needed ]}
• 2012- U.S. Department of State Medal of Arts, Art in Embassies (AIE), United States State Department ^[59]
• 2022- Fukuoka Prize Arts and Culture Prize ^[60]

References

1. Jennifer, Noémie (November 23, 2015). "Pakistani Art School Trains the Next Generation of Miniaturists". Creators. Vice. Retrieved July 9, 2017.
2. "Shahzia Sikander, Pakistani-American, born 1969". Diane Villani Editions. Retrieved July 9, 2017.
3. "Events: Gail Silver Memorial Lecture, Shahzia Sikander". RISD Museum. Rhode Island School of Design. October 1, 2016. Retrieved October 17, 2016.
4. "TLAD Artist's Talk: Shahzia Sikander". RISD Academic Affairs. Rhode Island School of Design (RISD). April 9, 2014. Retrieved December 30, 2018.
5. Gupta, Anjali. "A Conversation with Shahzia Sikander". Interview. Linda Pace Foundation. Retrieved June 10, 2015.
6. "Shahzia Sikander". About the Artist. Crown Point Press. Archived from the original on October 15, 2008. Retrieved June 10, 2015.
7. Stich, Sidra (June 1, 2011). "Shahzia Sikander @SFAI". Review. Square Cylinder.com. Retrieved October 14, 2012.
8. Qureshi, Bilal. "Breaking The Mold: Artist's Modern Miniatures Remix Islamic Art.", NPR, Retrieved 27 December 2018.
9. Kunitz, Daniel (February 2002). "Exhibition note: Daniel Kunitz on "Inheriting Cubism: The Impact of Cubism on American Art," at Hollis Taggert Galleries & Shahzia Sikander in "Conversations with Traditions" at Asia Society". New Criterion. 20 (6): 40. Retrieved April 23, 2014.
10. Chadwick, Whitney (2007). Women, Art and Society. New York: Thames & Hudson Inc. p. 446. ISBN   978-0-500-20393-4.
11. Leffingwell, Edward (January 14, 2006). "Shahzia Sikander at Brent Sikkema". Art in America. 94 (1): 119–120.
12. Vartanian, Ivan (2011). Justine Parker (ed.). Art Work: Seeing Inside the Creative Process. 680 Second Street, San Francisco, CA, 94107: Goliga Books, Inc. p. 53. ISBN   978-0-8118-7128-0.
13. "Shahzia Sikander". Biography/ Press. Hostfelt Gallery. Retrieved June 10, 2015.
14. Gupta, Anjali. "A Conversation with Shahzia Sikander". Interview. Linda Pace Foundation. Retrieved June 10, 2015.
15. Vartanian, Ivan (2011). Justine Parker (ed.). Art Work: Seeing Inside the Creative Process. 680 Second Street, San Francisco, CA 94107: Goliga Books, Inc. p. 59. ISBN   978-0-8118-7128-0.
16. "Shahzia Sikander: Gods, Griffins and Cowboy Boots". Interview. MOMA: Red Studio. Retrieved June 10, 2015.
17. Jepsen, Cara (March 5, 1998). "On Exhibit: Shahzia Sikander Makes Herself Clear". The Chicago Reader. Retrieved June 10, 2015.
18. "Opener 6: Shahzia Sikander- Nemesis". Tang Museum. Retrieved June 10, 2015.
19. "New Commission by Internationally Acclaimed Artist Shahzia Sikander at Princeton University | Princeton University Art Museum". artmuseum.princeton.edu. Retrieved November 30, 2020.
20. "Pleasure Pillars". The Morgan Library and Museum. June 4, 2021.
21. "Shahzia Sikander: Melting Boundaries | Art21 "Extended Play"". YouTube. May 17, 2023.
22. Karen K. Ho (July 9, 2024). "Shahzia Sikander Sculpture Beheaded at the University of Houston". ART News.
23. Zachary Small (July 9, 2024). "Statue Honoring Women and Justice Vandalized at University of Houston". New York Times.
24. "Shahzia Sikander Biography". artnet.com. Retrieved December 27, 2018.
25. "Just In: A Seminal Watercolor by Shahzia Sikander". Los Angeles Modern Auctions (LAMA). November 20, 2014. Retrieved December 26, 2018.
26. "Shahzia Sikander". LANDMARKS. University of Texas, College of Fine Arts. August 6, 2018. Retrieved December 27, 2018.
27. Shahzia Sikander: Acts of Balance. Frances Mulhall Achilles Library Whitney Museum of American Art. Whitney Museum of American Art. 2000.
28. Cotter, Holland (June 9, 2000). "Art in Review – Shahzia Sikander". The New York Times. ISSN   0362-4331 . Retrieved December 27, 2018.
29. "Viewpoints: A Conversation with Shirin Neshat and Shahzia Sikander". Asia Society. Retrieved December 27, 2018.
30. "Installation by Shahzia Sikander at SDMA". artdaily.com. Retrieved December 27, 2018.
31. "Shahzia Sikander: Nemesis", Tang Museum, Retrieved 26 December 2018.
32. "New Work: Shazia Sikander - Nemesis". www.pamm.org. Retrieved December 27, 2018.
33. "Shahzia Sikander", Fabric Workshop and Museum, Retrieved 26 December 2018.
34. "Shahzia Sikander at the Irish Museum of Modern Art". artdaily.com. March 27, 2007. Retrieved December 27, 2018.
35. "Shahzia Sikander", Museum of Contemporary Art Sydney, Retrieved 26 December 2018.
36. "Shahzia Sikander Selects: Works from the Permanent Collection", Smithsonian Institution, Retrieved 26 December 2018.
37. "Shahzia Sikander 'I am also not my own enemy' - Exhibition at Pilar Corrias in London". ArtRabbit. Retrieved December 27, 2018.
38. "Shahzia Sikander's The exploding company man and other abstractions - Announcements". www.e-flux.com. April 22, 2011. Retrieved December 27, 2018.
39. "Exploding Company Man and Other Abstractions", MassMoCA, Retrieved 26 December 2018.
40. Lantto, Freja (March 31, 2014). "Stormaktskonflikter i miniformat - Kulturnytt i P1". Sveriges Radio.
41. "Shahzia Sikander, Parallax", Guggenheim Museum Bilbao, Retrieved 26 December 2018.
42. "Shahzia Sikander: Ecstasy as Sublime, Heart as Vector", MAXXI Museum, Retrieved 26 December 2018.
43. Angeleti, Gabriella (March 16, 2021). "Shahzia Sikander, creator of feminist miniatures, will have a major show at The Morgan in New York". www.theartnewspaper.com. Retrieved May 18, 2021.
44. "At a Cambridge University college wrestling with its imperial past, Shahzia Sikander's show offers new ideas on restitution". www.theartnewspaper.com. September 15, 2021. Retrieved May 9, 2022.
45. "time/frame". Blanton Museum of Art. Retrieved December 27, 2018.
46. "Drawing Now: Eight Propositions", MoMA, Retrieved 26 December 2018.
47. "Fatal Love: South Asian American Art Now", Queens Museum of Art, Retrieved 26 December 2018.
48. ""Dirty Yoga: The Fifth Taipei Biennial" at Taipei Fine Arts Museum". Artforum.com. January 18, 2007. Retrieved December 27, 2018.
49. "Global Feminisms", Brooklyn Museum, Retrieved 26 December 2018.
50. Smith, Roberta (March 23, 2007). "Global Feminisms - Art - Review". The New York Times. ISSN   0362-4331 . Retrieved December 27, 2018.
51. "Global Feminisms". Wellesley College. Retrieved December 27, 2018.
52. "Not for Sale", MoMA PS1, Retrieved 26 December 2018.
53. "Order. Desire. Light.", Irish Museum of Modern Art, Retrieved 26 December 2018.
54. "Compass in Hand: Selections from the Judith Rothschild Foundation Contemporary Drawings Foundation", Museum of Modern Art, Retrieved 26 December 2018.
55. "Moving Perspectives: Shahzia Sikander and Sun Xun", Smithsonian Institution, Retrieved 26 December 2018.
56. "Shahzia Sikander CV from Sean Kelly Gallery Website".
57. "Joan Mitchell Foundation - Painters & Sculptors Program", Joan Mitchell Award, Retrieved 26 December 2018.
58. "MacArthur Foundation - Shahzia Sikander", MacArthur Foundation, Retrieved 26 December 2018.
59. "Art World To Celebrate U.S. Department of State's Art in Embassies' 50th Anniversary", U.S. Department of State, Retrieved 26 December 2018.
60. "Shahzia SIKANDER".

Further reading

• The Global Artist, Article in Pakistan's Daily Times
• Biography, interviews, essays, artwork images and video clips from PBS series Art:21 -- Art in the Twenty-First Century - Season 1 (2001).
• Shahzia Sikander official website, shahziasikander.com. Accessed February 6, 2024.
• Sawhney, Hirsh (Mar. 2004). Small things considered: Shahzia Sikander is big on miniatures, Time Out New York , Issue 443: March 25–April 1, 2004. Obtained October 18, 2006.
• Shahzia Sikander at Kadist Art Foundation
• Desai, Vishakha (Dec. 2000). A Conversation with Shirin Neshat and Shahzia Sikander. AsiaSource. Obtained October 18, 2006.