“…In Eggplants, large life-size ceramic eggplants bear a style of gold Farsi script commonly used in sacred or decorative objects. Suffice to say the gold script on the eggplants is no poem (though, it could be) or mystic wisdom. It is a transliteration of a more profane English word. Amjadi is interested in this play of cultural relations, of who in effect “gets it.” Yet, understanding the work does not hinge on reading Farsi or being “in” on the joke. Like a codec, Amjadi is encoding and decoding meaning at various levels of entry and access. The invitation in her work is to a radical opening up to the entanglements between ourselves and the object as well as our entanglements with each other across lines of difference and encampments of identity. If she had not explained her intent behind the porcelain eggplant to me, how would I have first encountered it?  What meaning would I have made of it independently? I find them lovely, pleasing to look at. I want to touch them like I would in a grocery store. I want to know how she made them and achieved their uniformly smooth, curved shape. My looking, triggers my own indices of meaning and memory…” –Nicole Nfonoyim-Hara