‘Islamic Art’ is not an alien term for the museum world. This umbrella term has been deployed to categorize cultural and art productions with a supposed common Islamic theme, make or origin. But histories of Art, let alone Islam, are seldom linear and simple. These complex histories have accommodated various inflections, changes and modifications to not only form and methods, but also thematics. Hence when the western world ascribes objects and artefacts which share this connected yet diverse history to an undifferentiated ‘Islamic Art’ tag, an induced myopia distorts the reception of such art. Souren Meilikian seeks to dispel such a generalization through his brilliant and extremely well informed article in the New York Times. The article exhibits a mastery over the field of knowledge and succinctly points out the problematic assimilation and understanding of history. Click here for this ‘must read’ piece.