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[[left margin]] Wolff, Rachel "Printmaker Zarina Hashmi Finally Gets Her Due at the Guggenheim" Modern Painters. January 2013 [[/left margin]] [[right margin]] LUHRING AUGUSTINE 531 West 24th Street New York NY 10011 tel 212 206 9100 fax 212 206 9055 www.luhringaugustine.com [[/right margin]] [[image description]] Two etchings from "Homes I Made/ a Life in Nine Lines," 1997 [[image description]] Starting in the mid-1990s, Zarina's work became more outwardly personal, "Homes I Made / A Life in Nine Lines," a portfolio of woodblock prints from 1997, for instance, depicts the floor plans of the houses and apartments in which she has lived, mostly during those two decades of traveling with her late husband. She calls their Paris apartment Watched the Seine flow by and waited for him to come home; she deems their residence in Bonn An uncertain time; and she anoints the outline of her New York City loft A space to hide forever. She inks almost exclusively in black. "Prints are like books," she says. "They have to be in black so you can read them." Today this sort of widely international and somewhat nomadic real-estate pattern is common among artists. Not so in the 1960s and '70s. "She is, in a sense, a precursor to a generation of transient artists," says Allegra Pesenti, curator of the Grunwald Center for the Graphic Arts at the Hammer Museum, in Los Angeles, where "Paper Like Skin" originated in September. "We take it for granted now, but at the time it was much harder." There's a hint of annoyance in Zarina's voice when she speaks about how she has often been categorized as an Indian artist or a Muslim artist despite having long made New York her home. "This whole things about identity - I always knew who I was, where I came from, what my heritage was, but also what I can pick up from other cultures," she says. "I'm a Muslim- I'm not denying it. But I'm many other things also. And I don't want to be separated. I want to be part of the world I live in.