In addition to being an art historian I was trained in the traditional practice of Indo-Persian painting, which I learned in the context of Pakistan’s celebrated miniature painting “revival.” Later, as an MFA student in New York City, I furthered my study of the visual arts in a predominantly western contemporary art context. In both environments my painting language raised practical, conceptual and philosophical questions that could only be answered by a deeper study of the historical sources that inspired me. Now that I have embarked on the dual path of the scholar/practitioner, I paint in a manner that draws directly from the material intelligence, methods and iconography of the historical artworks that I study. Because my practice proceeds from my cultural subjectivity as a Pakistani of North Indian heritage, it raises further questions about the present and future of indigenous South Asian art, as well as what it means to be a South Asian scholar/practitioner researching and explicating South Asian art for a global audience. Over time my artwork has developed in two distinct directions: historically inspired paintings that I characterize as musawwari (one of the pre-colonial, local words used to describe traditional North Indian painting) and more experimental works that I situate within the global discourse of the contemporary miniature movement.


2018     In the Homeland We've Never Seen, New City Arts Initiative, Charlottesville, VA  

2016     West, Koel Gallery, Karachi, Pakistan

            Shringar Ras (two-person exhibition), Twelve Gates Gallery, Philadephia, PA

2013     Leave to Remain, La Caja Blanca, Palma de Mallorca, Spain

2012     Return, Tracy Williams, LTD, New York, NY

            La Caja Blanca, Palma de Mallorca, Spain

2010     Ghost Nation, Canvas Gallery, Karachi, Pakistan

2008     Khaas Gallery, Islamabad, Pakistan

2007     Recent Drawings, Alhamra Art Gallery, Lahore, Pakistan


2017     Drawn to Charlottesville, Second Street Gallery, Charlottesville, VA 
2016     Sown Together, AICON Gallery, New York, NY
            Art Basel Hong Kong, courtesy of Gandhara Art, Hong Kong
2015     Why Can’t it be Everlasting?, Tracy Williams, LTD, New York, NY 
2014     On the Blue Shore of Silence, Tracy Williams, LTD, New York, NY 
            Art Dubai, courtesy of Grey Noise, Dubai, UAE
2013     Illuminated Geographies: Pakistani Miniaturist Practice in the Wake of the Global              Turn, Tufts University Art Gallery, Medford, MA 
2011     And nothing but the truth, Indus Valley School of Art and Architecture, Karachi,              Pakistan
            The center cannot hold, Grey Noise, Lahore, Pakistan
            Geld, RECEPTION, Berlin, Germany
            India Art Summit, courtesy of Grey Noise, Lahore, New Delhi, India
2010     Art Basel Miami Beach, courtesy of Tracy Williams, LTD, Miami, FL
            Held up by Columns, Renwick Gallery, New York, NY
            Columbia MFA Thesis Show, Fisher Landau Center for Art, Long Island City, NY
            New Art from Pakistan, Thomas Erben Gallery, New York, NY

            B-Sides, 6-8 Months Project Space, New York, NY

2009     First Year MFA Exhibition, Columbia University, Wallach Art Gallery, New York,                NY

2008     Lost in Your Eyes, LeRoy Neiman Gallery, Columbia University, New York, NY

2007     Pakistani Art from 1947 to the Present, National Art Gallery, Islamabad, Pakistan


2016     Printmaker-in-Residence, The Cill Rialaig Project, County Kerry, Ireland

2015     Artist-in-Residence, The Cill Rialaig Project, County Kerry, Ireland
2013     Artist-in-Residence, Santa Fe Art Institute, Santa Fe, NM

2012     Artist-in-Residence, La Caja Blanca, Palma de Mallorca, Spain

2011     Artist-in-Residence, Santa Fe Art Institute, Santa Fe, NM

            New Commission, Triple Canopy Magazine (Artist project: Origin, Departure)


2018     Raennah Lorne. Murad Khan Mumtaz transcends divisions with Musavvari                        paintings. C-ville Weekly, January 10
2016     Nusrat Khawaja. Art review: Murad Khan Mumtaz. Newsline Magazine, October                Issue

2015     Caroline Newman. Student’s Art Preserves History, UVA Today, October 27
2013     Translocal: Contemporary Miniaturist Practice Out of Pakistan (exhibition                        catalogue)
2012     Holly Stanton. Active Compass. Triple Canopy, April 5 (interview)

            M. Elena Valles. La misteriosa inscripcion de Sant Eulalia se hace arte. Diario de              Mallorca, July 3
            F. Mari. Revisar La Historia. Diari de Balears, July 3

            Asun Clar. Miniaturas Multiculturales. El Mundo, June 30

2011     Kara L. Rooney. The Slow Ascent: Death and Resurrection of the Art Fair, The                  Brooklyn Rail, February Issue
            Andrzej Lawn. WESTERN? JUST THE PACKAGING, Flash Art Online, March-April

            Saira Ansari. The center cannot hold (exhibition review). s.a. project blog
2010     Salwat Ali. Exploring Contemporary Miniature, Dawn, October 24 (interview)
            Art on Air, June 4 (radio interview)
            Paul Schmelzer. Smoke, ghosts and money: Murad Khan Mumtaz's dollar-bill                  paintings, Eyeteeth Blog, June 9
            Samantha Ann Scott. Dollar Signs: Mumtaz's Meditations on the Root of All Evil,              The End of Being Blog, June 14 


2017     A New Landscape. Profile of New York-based artist Christopher Astley. Cultured                Magazine, November Issue


2011     Origin, Departure. Triple Canopy Magazine, Issue 13. Online art project                          produced in collaboration with Alyssa Pheobus Mumtaz


US Department of State Art in Embassies Program, Embassy of the United States, Islamabad, Pakistan

Private collections in the US, Pakistan, UAE and Spain