From the Foreword: "Modernism in painting is a self-critical project leading to a rejection of whatever is not its own exclusive domain or function. Whether modernism can be fruitfully related to social, political and economic roots or not, it was perhaps inevitable that after the invention of photography and cinema, painting would redefine its territory and seek to free itself from mimetic representation, now usurped by photography, story-telling done better by cinema and three-dimensionality, a sculptural feature, to mention only three common features of premodernist mimetic art. The process, logically pursued, leads to flat space and abstraction. Aminul Islam's role as a champion of modernism and abstraction in a world where art was strictly mimetic could not have been other than painful, a record of which is briefly recalled in the following essay.
Aminul Islam's art is characterized by a great diversity. However, certain core elements run through his total oeuvre and point to its essential unity. Some geometrical shapes, for instance and geometricity as such, which the artist had come to love through his childhood experience of Pitta-making and kite flying and his preadolescent discovery of the art of Piero and Gaganendranath appear in almost all stages of his development."