Imran Qureshi on the Met Rooftop

This summer, the Metropolitan Museum of Art welcomes Imran Qureshi to its rooftop. The result focuses less on technology and futurity than last year's work by Tomás Saraceno, preferring to comment on the present, particularly violence in Qureshi's native Pakistan and elsewhere. Unlike 2010's Big Bambú, the work is largely static. While Qureshi borrows symbols and techniques from the Mughal tradition of miniatures, the floral motifs can be difficult to discern. And once seen, the leaves and vines don't beg to be admired or followed --- the pattern is essentially the same. Nor is the work as colorful as 2011's Anthony Caro's pieces.

Instead, Qureshi's art resembles nothing so much as blooms of blood.