The drawing is a free-form design with Farsi letters rendered in different colored inks. She had her first comprehensive exhibition in the United States at the Guggenheim Museum from May to Jume 2015. Wikipedia: She is a contemporary Iranian artist who lives in Tehran and was a ollector of traditional folk art. Her artistic practice weds the geometric patterns and cut-glass mosaic techniques of her Iranian heritage with the rhythms of modern Western geometric abstraction. Born to educated parents in the religious town of Qazvin in north-western Iran, Farmanfarmaian studied at the University of Tehran at the Faculty of Fine Art (1944-1946), before traveling to the United States on a steamer boat when World War II derailed plans to study art in Paris, France. In New York she studied at Parsons The New School for Design (1946"“1949) and Cornell University (1948"“1951), worked as a fashion illustrator, and was absorbed into the city's avant garde art scene, becoming friends with artists and contemporaries Louise Nevelson, Jackson Pollock, Willem de Kooning, Barnett Newman, and Joan Mitchell. She painted, collaborated with Andy Warhol on illustrations for the now defunct Bonwit Teller department store, and, under the tutelage of Milton Avery, developed her talent for making monotype prints "” some of which were presented at the Iran Pavilion during the 1958 Venice Biennale. She returned to Iran in 1957 with her husband Abolbashar Farmanfarmaian and began experimenting with adapting and combining techniques of reverse-glass painting, mirror mosaics, and the Sufi symbolism of classical Islamic geometrical design with a modern abstract expressionism and minimalism. "Ayeneh Kari" is the traditional art of cutting mirrors into small pieces and slivers, placing them in decorative shapes over plaster. This form of Iranian reverse glass and mirror mosaics is a craft traditionally passed on from father to son. Farmanfarmaian, however, was the first contemporary artist to reinvent the traditional medium in a contemporary way. She soon reached international acclaim and held major exhibitions in Tehran, Paris, Venice and New York. While living in Iran, Farmanfarmaian was an avid collector. She sought out paintings behind glass, traditional tribal jewelry and potteries, and amassed one of the greatest collections of "coffee-house paintings" in the country"”commissioned paintings by folk artists as coffee-house, story-telling murals. After the Islamic Revolution of 1979, during which time the vast majority of her works and her collections of folk art were confiscated, sold or destroyed, she took refuge in New York. Farmanfarmaian returned to Tehran in 2004, where she continues to live and work.[ -- Source of annotation: Marvin or Ruth Sackner.