While displaying personal and collective stories of being a woman, the exhibition achieves a sense of genuine curiosity for everything concerning the identity and body, aesthetics and politics, of the “woman,” applicable in WANASA and beyond.

When we contemplate those lines off the intersection, we often question the point of their existence: at what point does the boundary of the first space ends and where does the second begins?

After years of cementing and complimenting each other, today we enjoy exhibitions that raise nuanced, urgent and critical issues.

Alserkal Art Week has just ended and has left Dubai’s Alserkal Avenue with a fresh new sense of artistic-led initiatives, activations, and exhibitions for this new spring season.

One begins to imagine the ways in which Sara Ahli’s art interrupts the untarnished veneer of Downtown Dubai.

Formerly a French-inspired cafe and newsstand, then a supermarket and pharmacy, and finally a fast-food restaurant, the Flying Saucer now serves the Sharjah Art Foundation’s permanent inner-city art venue.

A number of works in the show appear to interrogate the effect of architecture and space on the body.

“101’s second sale gives me the possibility to share my work directly with art collectors, the wider art market, and art communities in the Gulf and beyond.”

While these chairs lack sturdiness, they possess prized qualities in today’s world: adaptability and long life-cycles.

An artist whose work I knew nothing about until September suddenly became one of my main sources of artistic, political, and cosmopolitan inquiry.

All these works spoke of the nostalgia for the UAE that exists beyond the cosmopolitan us expats know.