In 1964, Nasreen Mohamedi, who moved to Mumbai from Karachi three years before Partition, wrote about the experience of continuous conflict. “I sit here and try and find a unity,” she wrote in her diary, “not between religions but between people and people.” The artist had returned to India the previous year from Paris, where she studied lithography following her first solo show at Gallery 59 in Mumbai’s Bhulabhai Desai Memorial Institute. A black-and-white photograph showing Mohamedi in her studio is displayed among others in “The Vastness, Again & Again,” curated by Puja Vaish at Mumbai’s Jehangir Nicholson Art Foundation. In the image, dated ca. 1959–1961, Mohamedi sits among abstract paintings resembling those she made in the 1960s (she rarely dated or titled her work). One such composition in “The Vastness” is an abstract blue-scale oil on canvas impression of what resembles a hazy waterside structure and its reflection, recalling the palette knife and roller compositions of V.S. Gaitonde, with whom Mohamedi shared an affinity for abstraction, Zen Buddhism, and Paul Klee. An untitled 1966 canvas by Gaitonde, of grey-scale marks on a blue horizon, is among the few pieces by Mohamedi’s contemporaries curated into this multi-dimensional reflection on the …