In Anila Quayyum Agha’s installations, everything starts with a steel cube. The Pakistani-American artist cuts the cube’s square faces with a laser, creating intricate geometries and floral motifs taken from Islamic art and architecture. Then she suspends the cube from the ceiling and lights it from within. The result? A floor, wall, and ceiling surround of arabesque and acanthus shadows—the space transformed into a floating infinity. These shadows remind Agha of the beauty and femininity of Pakistani wedding dresses, but they also speak to the inaccessibility of religious ceremonies for Islamic women. An Agha environment embraces all. —E.C.
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