In the interview , Meher Afroz discusses the metaphysical experience , which is central to the show. Also highlighted is her process of transforming symbols to convey the quest for spiritual truth.

The article maps the two distinct trajectories of the art practice of Amin Gulgee’s. His formal calligraphic sculpture and figurative iconography in metal and the experimental performances and installations that are time based and ephemeral.

The article mapped the discursive sessions with artists, art critics and curators during the ArtFest Karachi.

Postcolonial Theory explains how the concept of a ‘subaltern culture ‘ was built on the false assumption that, as Edward Saeed puts it ‘ the East was not capable of composing their own narrative’.

As calligraphy changed from a symbol of identity to a component of a subversive strategy , its assimilation in visual arts continues to evolve

‘Painting miniature is like expressing yourself in Urdu’ Imran Qureshi , the leading miniaturist tells Niilofur.

Uraan (Flight) in this exhibition serves as an emblem of the spirit of change that imbued the creative mind in nascent Pakistan.

Text for the catalogue of the show curated by Amin Gulgee and Sheherebano Hussain. The show addressed the nation’s ambivalent relationship with the representation of the body/ figure in visual culture.

The catalogue covered the sixteen exhibitions held for the inaugural of the National Art Gallery Islamabad.

Niilofur as its curatorial lead , described the project as a moving caravan that brought together over 200 artists to pay tribute to the memory of Zahoorul Akhlaq, Pakistan ‘s major artist who became a victim of violent crime.  The artists worked on the Takhti , the wooden tablet that was used by the late artist.