One of the most wonderful aspects of “Orient Express,” the brilliant exhibition of works by Nevet Yitzhak at Jerusalem’s L.A. Mayer Museum for Islamic Art, is the resounding answer she gives to the superficial, cliché-filled discourse on Islamic art. It is a discussion that defines Islamic art as a “rich, ancient, much respected culture” in a generalized manner that, as it declares the wealth of ancient Islam, presents Islamic art as homogeneous, monolithic and bereft of any nuances.

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