The closest analogy to Neha Lavingia’s paintings will be that Zen form of poetry known as Haiku. They are precise, evocative and brief, the poetics of the minimal. (…) She insists on seeing not merely looking.

Hairline cracks on walls sprouting weeds, birds perched on electric wires, patterns created by exposed bricks, an aerial view of a river winding through dense foliage; it is deceptively easy to describe her works but any description is bound to sound trite and hardly do justice to the works. Like anything worthwhile in the realm of the visual her imagery ultimately defy description. The works have to be seen to experience their intimate delicacy bordering on abstraction that is on offer in their miniature scale.

Not for Neha any grandiose themes or issues, she steadfastly sticks to her project of bringing us back the pleasures of seeing and a sense of wonder considered somewhat passe in our jaded, overwrought time. Her radicalism lies in that simple premise.

— Indrapramit Roy