REPORTER Anmol Irfan ANMOL IRFAN is a Pakistani freelance journalist and editor. She works on gender, climate, and media, with a focus on South Asia. She also runs a book club in Karachi. REPORTER WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

ARTIST Anna Rabko ANNA RABKO is a graphic designer and illustrator who uses colours and surrealism as a universal language. Her education started at the Academy of Fine Arts in Cracow, Poland, creating a bond with Polish Poster design, and continued in Kathmandu, Nepal, where she learned traditional Thangka painting. She enjoys working with theatres and NGOs, and collaborating with other artists. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

ARTIST Chaaya Prabhat CHAAYA PRABHAT is an illustrator from India currently working out of Goa. She’s previously worked with several clients such as Penguin, Hachette, Meta and Google on digital illustration projects, stickers and book projects. She enjoys the using pattern and colour in her illustrations, and has previously won awards for her work from Behance and Cosmopolitan magazine. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

A great debate is raging between progressives and the Democratic establishment in public autopsies of Election 2024. Pundits and politicians alike call the results from November 5th an indictment of the Democratic Party's anti-politics. While critiques of the centre are now ubiquitous, what of the left? A great debate is raging between progressives and the Democratic establishment in public autopsies of Election 2024. Pundits and politicians alike call the results from November 5th an indictment of the Democratic Party's anti-politics. While critiques of the centre are now ubiquitous, what of the left? Nazish Chunara Untitled (2018) watercolor and ink on paper Artist United States AUTHOR · AUTHOR · AUTHOR 15 Nov 2024 th · THE VERTICAL REPORTAGE · LOCATION Coalition of the Willing In an election that has left the American commentariat reeling, perhaps the most significant voice in the chorus of criticism faced by Kamala Harris and the Democratic Party this week has been none other than Senator Bernie Sanders, once regarded as the left’s answer to Donald Trump. Sanders does not mince his words in a statement published to X, asking, “will (the Democratic Party) understand the pain and political alienation that tens of millions of Americans are experiencing?” He answers a sentence later, “probably not.” Other voices on the ‘Bernie left’—a broad church coalition of disaffected Democrats and frustrated independents, fed up with America’s political duopoly and interested in progressive socio-economic policy—have echoed Sanders’ cynicism. These voices, ranging from prominent alternative media figures to former Sanders aides, place the blame squarely on the Democratic establishment whose antipathy towards their ‘political revolution’ foreclosed any chance of a populist challenge to Trump. The problem, however, is that this very coalition has been at the helm of enthusiastic support for Democratic candidates, year after year. Bernie himself recently referred to Biden as “the strongest, most progressive President in my lifetime.” Members of the “ squad ” echoed the sentiment, with Rep. Alexandra Ocasio-Cortez referring to Biden as “one of the most successful presidents in modern American history” while Rep. Ilhan Omar called him “the best president of my lifetime.” This occurred after both women accused Biden of complicity in genocide. Prominent voices in left media have also repeated the "best president of my lifetime" trope, operating on a hermeneutics of faith, quick to find silver lines and disburse credit. YouTubers like Krystal Ball and Kyle Kulinski , both of whom command subscriptions of over 1 million respectively, have frequently commented on how Biden has “ surprised ” them and that, between Barack Obama and Biden, it isn't even close—“Biden is way better. ” American progressives and self-proclaimed socialists continue to do and say things that leave fellow travellers scratching their heads. Progressives are correct to say that the Democratic Party is out of touch with everyday Americans. However, the Bernie left is similarly out of touch with the rich and longstanding political tradition it purports to subscribe to. Many on the left in the United States unwittingly perpetuate the American exceptionalism they claim to denounce. This version of American exceptionalism involves the practice of a de-linked progressive politics, existing outside the historical context and cultural milieu of international socialist struggle. Whether it be former Sanders’ surrogate, Ro Khanna’s vote on a bill “ denouncing the horrors of socialism,” Jamaal Bowman’s vote to fund Israel’s Iron Dome, or Ilhan Omar calling Margaret Thatcher a role model for her “internal sense of equality” (whatever that means), American progressives and self-proclaimed socialists continue to do and say things that leave fellow travellers scratching their heads. There are several foundational principles that any genuinely left political formation or movement should adhere to in its struggle to change the status quo, principles many members of the Bernie left actively ignored or carelessly dismissed. For the purposes of provoking reflection and debate, I will highlight three. First, a recognition that the push and pull of antagonistic class forces moves history, rendering any snapshot of the present an illustration of the prevailing balance of class forces. Barack Obama and Joe Biden were presidents of two very different countries. One led a country that choked on the very word “ socialist, ” and the other was almost dethroned by one. Biden’s policies should be framed by the left not as “ surprising victories ” but as fragments of a weak class compromise, token gestures to placate post-Occupy Movement progressives while continuing to serve the interests of big donors. Like Kamala Harris herself said , “you exist in the context of all in which you live and what came before you.” Biden was, in many ways, the first Democratic president after the end of the long 1990s. To judge his record against politicians basking in the glory of the fall of the Berlin Wall is disingenuous at worst, misleading at best. Second, the necessity of a ruthless critique of imperialism. It is true that left media and members of The squad have been the more outspoken critics of Biden’s complicity in Gaza. This has been positive to see. But the criticism led nowhere: verbal condemnations were followed briskly by pledges of allegiance. A large contingent of the Bernie coalition has treated genocide and other policy issues as equal considerations amongst many, conducting cost-benefit analyses with wonky incrementalism on one side and crimes against humanity on the other. The only red lines are those drawn by Republicans—everything else goes. You cannot trade the lives of innocents for personal freedoms and leave with your political conscience intact. Third, a clear understanding of the role of electoral politics in pushing a left agenda. Winning an election is not the only goal when the left decides to partake in the electoral process. Elections act as venues for cementing working-class consciousness, building broader-based coalitions, pushing class struggle and popularising left platforms. Imagine if Sanders had published his statement critiquing the Democratic establishment before campaigning began for 2024. Think of the debates it would have engendered, the demystification of political rhetoric it could have produced, the birth or consolidation of left formations it could have inspired. Rather, we saw Bernie, the squad, and much of the left media clamouring to back Harris hours after she announced her run. And as quickly as the endorsements came, so did promises to “push Kamala left” once she was elected. This approach of delaying politics means forsaking the opportunities elections provide to highlight ideological alternatives to the political duopolies that litter liberal democracies around the world. A mass party of labour, a genuine left political program, is put off to tomorrow—but tomorrow never comes. Of course, there are those rooted in radical political traditions who made political calculations to support Sanders as a speedbump for neoliberalism and imperialism. Had progressives been clearer about the principles above, we may have had an election that actually mattered. Some may argue that the “the Bernie left” is too vague a construction to conduct a robust postmortem, to which I say, you know exactly who I am talking about . Of course, there are those rooted in radical political traditions who made political calculations to support Sanders as a speedbump for neoliberalism and imperialism. They are mostly excluded from the critique. And if there is still confusion about who, or what, the Bernie left is—well, therein lies the problem. In Sanders’ post-election statement, he concludes, “in the coming weeks and months, those of us concerned about grassroots democracy and economic justice need to have some very serious political discussions.” I agree and can only hope that critical questions will be asked of him and the movement he has spearheaded for nearly a decade. ∎ SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Facebook Twitter LinkedIn Add paragraph text. Click “Edit Text” to customize this theme across your site. 1 Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Opinion United States Elections Electoral Politics Progressivism Progressive Politics Democratic Party Leftism The Disillusionment of the Left Socialism Democracy Bernie Sanders The Squad Status Quo Imperialism Policy Republican Party Foreign Policy Marxism Radical Politics Grassroots Movements Coalition Neoliberalism Working Class Culture American Exceptionalism Independent Media Democratic Establishment Democratic Elites Liberalism Joe Biden Kamala Harris Ilhan Omar Jamaal Brown Ro Khanna Barack Obama Gaza Israel Krystal Ball Kyle Kulinski Populism Donald Trump Alexandra Ocasio-Cortez Electioneering Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 On That Note:

WRITER Mai Ishizawa MAI ISHIZAWA a was born in 1980 in Sendai City, Japan, and currently lives in Germany. Her debut novel, The Place of Shells , won the Akutagawa Prize. WRITER WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

BAND Little Faratas N' Monkey LITTLE FARATAS N' MONKEY is an anonymous band from Maldives. Different artists collaborate on different projects. The core of the band is the sound room of a video production house. BAND WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

· COMMUNITY Interview · Indigeneous Spaces Rethinking the Library with Sister Library Artist and activist-scholar Aqui Thami, in conversation with Comics Editor Shreyas R Krishnan. Watch the interview on YouTube or IGTV. I really wanted to rethink what a library could mean, and show that most libraries are funded by monies that come from the exploitation and relocation of indigenous peoples. [Sister Library] is what comes out of that. RECOMMENDED: Support Sister Library , the first ever community-owned feminist library in India, here . SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Interview Indigeneous Spaces Feminist Spaces Decolonization Community Building Community-Owned Public Space Sister Library Sister Radio Kochi-Muziris Biennale Dharavi Bombay Underground Indigenous Art Practice Indigeneity Zines Pedagogy Public Arts Public History Archival Practice Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. 21st Oct 2020 AUTHOR · AUTHOR Facebook Twitter LinkedIn Add paragraph text. Click “Edit Text” to customize this theme across your site. 1 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 On That Note:

Photojournalist NayanTara Gurung Kakshapati in conversation with Shubhanga Pandey COMMUNITY Photo Kathmandu & Public History in Nepal Photojournalist NayanTara Gurung Kakshapati in conversation with Shubhanga Pandey NayanTara Gurung Kakshapati The archive of Nepal Picture Library is there to diversity our narratives of the past and begin to look at historically marginalized histories of specific communities, whether that be along the lines of caste or ethnicity or gender. The archive of Nepal Picture Library is there to diversity our narratives of the past and begin to look at historically marginalized histories of specific communities, whether that be along the lines of caste or ethnicity or gender. SUB-HEAD ALSO IN THIS ISSUE: Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase Shebani Rao A Freelancer's Guide to Decision-Making Watch the interview on YouTube or IGTV. SHARE Facebook Twitter LinkedIn Interview Nepal Archiving Photojournalism Photo Circle Photo Kathmandu International Festival Nepal Picture Library Library Archival Practice Exhibitions Pedagogy People's Movement II Skin of Chitwan Indigeneity Indigenous Art Practice Indigeneous Spaces Dalit Histories Anthropocene Journalism Jana Andolan II Communist Party of Nepal (Maoist) Insurgency Public History Public Space NayanTara Gurung Kakshapati lives in Kathmandu, Nepal and works at the intersections of visual storytelling, research, pedagogy, and collective action. In 2007, she co-founded photo.circle , an independent artist-led platform that facilitates learning, exhibition making, publishing, and a variety of other trans-disciplinary collaborative projects for Nepali visual practitioners. In 2011, she co-founded Nepal Picture Library , a digital archiving initiative that works towards diversifying Nepali socio-cultural and political history. She is also the co-founder and festival director of Photo Kathmandu , an international festival that takes place in Kathmandu every two years. She has served as festival director for South Asia’s premier non-fiction film festival Film Southasia , been part of the selection committee for the first cycle of World Press Photo ’s 6x6 Global Talent Program in Asia, and been a mentor for the 2020 World Press Photo Joop Swart Masterclass. She was recently awarded the 2020 Jane Lombard Fellowship by the Vera List Center for Art and Politics at The New School, New York. She studied documentary photography at the SALT Institute of Documentary Studies, Maine, and International Relations and Studio Art at Mt. Holyoke College, Massachusetts. 25 Nov 2020 Interview Nepal 25th Nov 2020 Chats Ep. 8 · On Migrations in Global History Neilesh Bose 4th May It's Only Human Furqan Jawed 26th Apr Bengali Nationalism & the Chittagong Hill Tracts Kabita Chakma 9th Dec Rethinking the Library with Sister Library Aqui Thami 21st Oct The Ghettoization of Dalit Journalists Sudipto Mondal 14th Sep On That Note:

· COMMUNITY Interview · Kerala Between Form & Solidarity Poet Chandramohan S in conversation with Advisory Editor Sarah Thankam Mathews Watch the interview on YouTube or IGTV. "One’s privilege cataracts one’s vision. Aspects of that privilege create a form of blindness, a cataracting of one’s advantage. My modus operandi is to illuminate as many blind spots as each of us have. It is not my fault that I may be born into a privilege, but it will become my fault if I do not make myself aware of it." RECOMMENDED: Love After Babel and other poems by Chandramohan S (Daraja Press, 2020) SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Interview Kerala Language Vernacular Literature Internationalist Solidarity Dalit-Black Solidarities OV Vijayan Dalit Literature Ajay Navaria Avant-Garde Form Poetic Form Deepak Unnikrishnan Resistance Poetry Love After Babel Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. 31st Aug 2020 AUTHOR · AUTHOR Facebook Twitter LinkedIn Add paragraph text. Click “Edit Text” to customize this theme across your site. 1 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 On That Note:

ARTIST Manglien Gangte MANGLIEN GANGTE is a self-stylist and image-maker whose work navigates the intersection of diaspora, femininity, and identity through fashion. He has contributed to titles such as AnOther Magazine , Luncheon Magazine , British Vogue , Vogue India , and Grazia India . He is based in Delhi. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

· BOOKS & ARTS Presently · The Editors Experiments in Radical Design & Typography Notes on the new SAAG design system: appropriating the predator-drone, aesthetic intimacy, international motifs, and other stories. The display-face superimposed on the cartographic grid system it arose from. How does a magazine like SAAG understand space & geography? How does it grapple with the many South Asian communities—those acknowledged as such, and those that aren't—to begin to identify the wrongs we must right from a long legacy of media that construed and continue to construe "South Asia" so narrowly? When I set out to design a whole new SAAG, these questions were on my mind. Unconsciously, material things—street signs we passed by, patterns we'd been looking at for years but noticed again for the first time—gave me some answers that buttress our current design system, allowing for a conversation within the team from many countries. These ideas came from my own subjective personal experiences, yes, but that intimacy I felt led all of us as a team to wonder: what might everyone else find intimate? How do we bring it all together? The design system is an expression of solidarity—finding commonality in what we all see or read; wear or draw—while admitting exception and difference, and also that this is, of course, an ongoing process. Disaster Timeline: Cover Artwork Our first issue allowed us to think about space on a broader level too. More specifically we asked: How does networked space see? Through the eyes of capital and the modern surveillance state—much like the seeker-head of a predator drone—the human subject has reached the zenith of abstraction. Humanity is now a set of data points, and collective struggles, in turn, simply distant blips on a radar. Visibility doesn't come easy. In an attention economy with content tethered to the whims of capital, only the profitable survive. Large-scale disasters cannibalize attention, obscuring the slow devastation occurring across regional, social, bodily, and psychic scales on a continuous loop. It’s a circular timeline. In a sense, the apparatus of surveillance defines the contour of strife: what better way to capture that present state of invisibility than to mimic how the predator drone sees the regions discussed in the issue? Thus, Mukul Chakravarthi's cover art for Issue 1 attempts to capture the cold cartographies of collective strife through the aesthetics of the modern surveillance state. The appropriation affirms our editorial commitment to deeply human narratives that emerge in the form of rigorous local reporting but also critically in the aesthetic responses of struggle and dissent, many of which you will find in the issue. The custom display face was derived from a grid system mapping the eight main cities—from Islamabad in the west to Naypyidaw in the east—that feature in the first issue. It was an exercise conceived to be just as spatial as it was typographic. The intention was to construct a display face that gave form to regions that otherwise figured in the margins of the globalist imagination. Iconography The iconography is the foundation of Volume 2. I truly hope you come to remember these icons and the content and forms of creative work they represent. The process began with my own archival, oral history and mixed-media research, which led to a great deal of conversation and more findings from the whole design team. The iconography is inspired by textiles across many South Asian countries and communities. It is a visual representation that interweaves recurring patterns across geographies and peoples. Each icon is a recurring motif in textiles from seven or more contemporary South Asian nations, and countless communities within them. SAAG's general approach to "South Asia" is pertinent here. We deliberately do not construe "South Asia" specifically in terms of geography. As our archives indicate, this is because we recognize that: 1. Diasporic communities originating in the subcontinent exist in countries as far east and as far west as any map will show. 2. "South Asia" is generally conceived of as countries within the subcontinent, but the history of its terminology is often nationalist, divisive, and problematic for many people, even within the region's most populous country. As Benedict Anderson has argued, it is also a construction to some degree of the rise of area studies; its arbitrariness can be seen in its inconveniences: some countries in what is academically considered "Southeast Asia" share more historical, cultural, and linguistic similarities with those considered "South Asian," and vice versa.* For the purposes of our iconography, we researched motifs stretching from Laos to Iran, as well as the Caribbean. Typography & Colophon Our web typography was also selected carefully. Our primary typeface, Neue Haas Grotesk by Monotype type foundry, reflects our association with the radical origins of sans typefaces like Akzidenz Grotesk . It's a remarkably sturdy sans that allows us to be flexible: based on the theme of each issue, we want to use a new display font entirely. We hope it keeps you on your toes. The body text for the work we publish was previously set in Erode by Nikhil Ranganathan and Indian Type Foundry (ITF), a startlingly original, idiosyncratic, and yet almost unobtrusive typeface that we greatly admire. Currently, we use Caslon Ionic by Paul Barnes and Greg Gazdowicz at Commercial Type, based on the influential Ionic No. 2 that has been pivotal to newspaper typesetting for over a century. We pair it with Antique No. 6 , also at Commercial Type, designed initially as a bold version of Caslon Ionic . Meanwhile, each issue of Volume 2 will use a different display typeface. For Issue 1, we chose the spiky and precise TT Ricks by TypeType. For Issue 2, we chose Marist by Dinamo. Our colophon—conceived by Prithi Khalique and designed in many iterations and styles by Hafsa Ashfaq—is a nod to our print future, inspired by one of the works first cited when SAAG began: Rabindranath Tagore's painting Head Study , a work of dazzling ingenuity that provides the metaphorical architecture for our identity. Of all the decisions we made, this one came the easiest to us. A design system that coheres around our collective past feels best to embody our aspirations for the future: we cannot predict the future, but we can take stock of the conceptual frameworks our many contributors provide to us. Moving forward, the design system will move much like the issue artwork itself: fluidly adapting to best represent the radical potential of the present in its aesthetic form. Website Our new website is a complete overhaul and a sharp contrast to the original SAAG website as well. We think fondly of what we made for Volume 1: its maximalist, wild, and mysteriously glitchy exterior paired with very serious work and dialogue. But if the eternal doom scroll has taught us anything, we are inundated with maximalist content. What we wanted was care, intentionality, attention, and flexibility: an ease to the user experience that reflects the care we took to make every choice inspired by South Asian custom, movement, or labor. We hope that our new website—designed and developed by myself and Ammar Hassan Uppal, with help and feedback from editors and designers on the team alike—flows much more organically, whilst feeling both tactile and geometric. We felt that the digital space shouldn't distract from the ideas and concepts of the difficult material discussed in Issue 1 of Volume 2 as well as in the archives. It should enhance it. What you see is also a website intended to take on the spirit of the issue currently featured, adapting at each turn. At the same time, we wanted to inject a little whimsy into the experience: easter eggs sprinkled throughout the website, which we hope you'll find. We hope to evoke a more orderly and idea-focused experience of SAAG’s content and challenge the dominant sense that the "avant-garde" need be synonymous with disorderly maximalism; instead, we eschewed both maximalism and minimalism—as well as the neo-brutalist response to minimalist design—with a warmer color palette and approachable typography. In Volume 2 of SAAG, we hope to demonstrate that we take the intellectual and conceptual happenings and developments in the worlds of design, typography, web development, etc., just as seriously as anything else. Stay tuned for forthcoming content and events on the many political-aesthetic challenges contemporary designers face, as well as how they understand, learn, teach, and reckon with the histories and legacies of design. Top of mind for us throughout this process was affect and emotion: how one might feel when one logs onto the website or reads one of our pieces? We do hope you feel welcome . ∎ * Benedict Anderson, A Life Without Boundaries ( Verso , 2018) SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Presently The Editors Design Disaster Aesthetics Drone Warfare Surveillance Regimes Iconography Textiles Benedict Anderson South Asia as a Term Cartography Colophon Rabindranath Tagore Affect Web Design Design Process Typography Indian Type Foundry TypeType Dinamo Head Study Commercial Type Caslon Ionic Ionic No. 2 Akzidenz Grotesk Neue Haas Grotesk Antique No. 6 Monotype Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. 12th Mar 2023 AUTHOR · AUTHOR Facebook Twitter LinkedIn Add paragraph text. Click “Edit Text” to customize this theme across your site. 1 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 On That Note:

ARTIST Sana Ahmad SANA AHMAD is a graphic designer and artist residing in Karachi, Pakistan. She majored in Communication Studies and Design and has been working on various projects in both fields for the past two years. Her work has been displayed internationally at Sharjah Art Foundation for Focal Point 2019 and for Art Book Depot 2019 in Jaipur by Farside Collective , as well as various local group exhibitions throughout the country. She currently works as a Content Executive for Unilever Pakistan, and is based in Karachi. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE