Asian Garden of Many Delights – every table was decorated by a different designer and the dinner menu was designed by Chef Hemant Mathur of Tulsi and his wife, the equally talented pastry chef Surbhi Sahni of Bittersweet NYC.

Imagine a room full of women, prostitutes, lowest of the low. They are faceless – without an identity, without a future. They are created out of found objects, the flotsam and jetsam of society.
Their heads are fashioned out of jars, their breasts are jars shaped like voluptuous melons– after all, aren’t women objects? They lack hands, and some even their lower limbs, they have no standing in society. Clad in flashy underwear and gold heels, they are what they wear, sexual objects in an uncaring society.
And yet to stand in that small room with these life-sized, lifeless women was to feel their presence and their pain. It seemed almost a community. Iranian artist Shirin Fakim’s women were just one vignette of the recent Asian Contemporary Art Week (ACAW)

Riveting.

That’s probably the word one is searching for when asked about the new face of Pakistani art which is now being shown in art centers internationally. For a country in so much pain politically and socially – not to mention economically – Pakistan is surprisingly on top of things where art is concerned.

In recent years, Kashmir has been a flawed paradise, a killing field where families have been torn asunder and homes lost forever. The timeless, idyllic place that visitors in happier times remember may well be lost, never to be experienced again. Yet there is a strength and beauty that lives on in the arts of diehard, resilient Kashmiris who, in spite of all the difficulties, continue to create crafts that blossom like the flowers of their native land. (This antique shawl above shows the map of Kashmir)