Drawing on the history of geometric abstraction—as well as the practices of artists such as Agnes Martin, Donald Judd, Mary Martin, Sol Lewitt, and Tess Jaray—Begum’s work is informed by both the urban environment and the geometric motifs of Islamic art and architecture. This is exemplified in her commission for the MFA Boston’s reinstalled Art of Islamic Cultures Gallery, where her site-specific work responds to the ornate sandstone arch typical of South Asian Islamic architecture. The influence of Islamic art and the spiritual importance of repetition and meditation is also at the heart of Begum’s practice. Often using industrial materials and reflective surfaces, Begum creates visually dynamic experiences that shift with the viewer’s perspective and environment. Begum’s focus on symmetry and rhythm evokes a sense of the infinite, creating contemplative spaces.

Begum’s ongoing experimentation with color, light, and space expands the narratives of abstraction and minimalism to encompass a more global perspective. At the center of the exhibition in New York is a large-scale installation from the artist’s Chainlink series, which transforms chain-link fencing into a suspended, richly textured form that softens its industrial character. Removed from its familiar function, the material draws attention to the beauty of its woven structure and organic geometry. In developing the artwork titled No.1272, Begum looked to the paintings of Mark Rothko, reflecting on the way layered fields of color can evoke a distinct atmosphere and emotional weight.

Similarly, Begum’s Louvre series draws inspiration from the formal simplicity of everyday materials such as louvres—architectural elements commonly found in ventilation panels, façades, and blinds throughout urban landscape. A decade of experimentation and research resulted in this series which explores ideas of permeability. Foregrounding materiality and color, spanning metal, stone, and glass, these works investigate how each medium interacts with and responds to light. Whether wall-mounted or suspended, the works possess a distinct physical presence, their material qualities conveying varying degrees of weight, density, and fragility. At times appearing ethereal and elusive, they shift with changing conditions before resolving into more defined and solid forms.

Additional highlights include new works from Begum’s latest Fold series. Originating from Begum’s experiments with paper, these wall reliefs explore the relationship between surface and space, transforming flat sheets of metal into dynamic three-dimensional forms. Begum has long been captivated by the way folded paper interacts with light, casting shadows and revealing subtle tonal variations—white is no longer simply white, but a surface through which colour gradually emerges. Inspired by Bangladesh’s centuries-old tradition of kite flying, each work takes shape through a series of precise, meticulously executed folds. These geometric interventions create a compelling interplay of light, shadow, and color that shifts and intensifies as the viewer moves around the work. Angular shadows and diffused hues extend onto the surrounding walls, expanding the composition beyond the object itself and creating a sense of infinite spatial possibility.