Mukherjee's minimalist figurative work fused aspects of Asian art traditions with Western notions of subjectivity through shifting relations of figure and ground, light and space, and points of view.Knight, Christopher. "Alices Visit Alternate Realities in 'Hard-Boiled Wonderland,'" Los Angeles Times, 15 June 2001. Retrieved 29 March 2021.Cooper, Jacqueline. "Sandeep Mukherjee," New Art Examiner, December/January 2000–1, p. 50. Art in America's Michael Duncan wrote that these drawings "suggest a fantastical, airy interior realm where rarified self-consciousness manifests as pure physicality."Duncan, Michael. "Sandeep Mukherjee at Margo Leavin Gallery," Art in America, March 2001, p. 140–1. They consisted of multiple images of Mukherjee's own head and nude body meticulously rendered in pale colored-pencil contour lines, needle pricks and embossed or creased shapes, which floated through softly colored, monochrome fields incised with motifs of flowers, leaves, starbursts, and rippling water.Feldman, James. "Sandeep Mukherjee," Art Issues, November/December 2000, p. 50. The complex Duralene and paper surfaces—irregular planes of folds, creases and tattoo-like perforations—absorbed and reflected light, casting shadows that shifted as viewers changed position to create a visual push-pull between abstraction and figuration, painting and sculptural relief. Los Angeles Times critic David Pagel suggested the drawings "fuse the heightened perceptual acuity of classic Light and Space installations with the pleasures of classic figurative imagery, in a powerfully original fashion."Carson, Juli. "Review 04: Sandeep Mukherjee," X-Tra, Vol. 5, No. 3, 2003, p. 26–8.
