When it comes to work with fiber, artists usually choose cotton, wool, or silk. The Indian artist Mrinalini Mukherjee, who died in 2015, reached for rope—hemp rope drenched in strong color, the vegetable dyes indigo, madder, and saffron. Mukherjee wielded and wove the rope into huge temple totems, phantom figures clothed in rolls, openings, swells, and symmetries unabashedly and imperiously genital. Her sculptures tapped into India’s pantheon of spirits and gods, and she herself was at the center of a group of Indian artists who shaped modernism in India during the last 100 years. This exhibition in West Yorkshire places Mukherjee in the context of female Indian artists from an earlier generation—Mukherjee’s mother Leela Mukherjee, Meera Mukherjee, Novera Ahmed, and Pilloo Pochkhanawala—and presents the range of her oeuvre: from the spectacular fiber sculptures to work in ceramic and bronze, drawings, etchings, and watercolors. —Laura Jacobs