Ghada Amer’s embroidered paintings, ceramics and installations interrogate gender, desire and the politics of representation. Reclaiming techniques historically coded as feminine, she pulls threads across the canvas so images oscillate between revelation and concealment. Her practice critiques objectification while acknowledging the complexity of looking. Gardens spelled with cursive texts, layered stitchwork and painterly drips form a language where pleasure and critique intertwine, recasting ornament as dissent.