Nasreen Mohamedi produced a small but significant body of black-and-white photographs in which, like her celebrated paintings and drawings, composition was an important element. Her entire body of photographic work comprises 24 images in three series. Documenting the shadowed lines of steps in a Mughal courtyard, the patterns on a road in Japan, or a line in the sand on a beach, the framed and cropped spaces of Mohamedi’s images present a series of vertical, horizontal and diagonal lines disengaged from their sources. While they were never exhibited during her lifetime, these photographs have since been credited with forming the material basis of Mohamedi’s formal aesthetic: an art that brings together the logic and rigour of abstraction and an aspiration toward the metaphysical. They are evidence of the minimal forms drawn from everyday life through which she was able to explore grand philosophical and aesthetic ideals.