Dr. Akbar Naqvi, an eminent art critic of the country states in his book, IMAGE AND IDENTITY, “If Sadequain had done nothing but his drawings, he would still be among the inventors of modern art in the country.”

CACTUS SERIES
In 1960’s Sadequain spent considerable time at Gadani - away from man and his influences, Gadani was Nature’s retreat, where she stood in the raw, naked in all her rugged majesty. The locale he selected to work was in the wilder cactus-land that girdled the wild shores. The rugged desert, foothills with the barren soil, the scorching sun, the blackish water fathoms deep, formed an elemental barrier which nothing but cactus life could break through. Starved by the hostile, waterless soil, lashed by the not less hostile winds, the cacti turned and twisted. But they were always pointing upwards, jetting upwards, thrusting upwards, as if drawn upwards to stand witness to the triumph of life over environment, above the death-grey soil, in the death-pale atmosphere with life-green stems and life brown particles, reaching skies, pulsating with life amidst death and ugliness. Sadequain saw cacti under different skies, in different weathers, in different lights, at different hours of the day.

Sadequain could see cactus man, cactus-limb, cactus-animal and cactus-hand. His deft fingers, his dexterity and ingenuity helped him introduce the energy factor in his life size, life-like cacti without much difficulty. It was easy. He had only to introduce the powerful curves by the rippling muscles of sturdy workers into the cactus forms to show the power and energy.

SUN SERIES
Sadequain found himself engaged in the Sun Series: It was the reflection of the red sun with the dark rays which in mystic parlance, is the same as the rays of the light, for there can be no darkness without light and no light without darkness. The distinction between shades and reflection was as arbitrary as the distinction between the white light that contrasted with darkness: the twin, inseparable, opposite poles, which could not exist in isolation. "Exposition" series, Sadequain has ably demonstrated how the play of light can produce shadows in all imaginable shapes and forms and how different colors could be polarized without disturbing the mystic relationship between light and darkness, each growing, as the other grows.

COBWEB SERIES
In Cobweb Series Sadequain sees cobwebs all over in our society. He sees them around young men and modern ladies, around lover’s intellectuals and thinkers, in the mouths of men who dare not speak. They hang from the sides and afloat from the trees.

CROW SERIES
Crow Series projected men on whose heads crows were nesting, laying eggs and merely cavorting. He saw us as timid and demented worshippers of scarecrows. The crows that men were trying to scare were not scared. In fact the crows were playing with them and even tearing themselves to show to the creeping, cowardly and mean people that there was nothing in a scarecrow they feel scared about. He now sees the decay in our society in advanced stages, petrifaction is nearing completion and degradation will soon be absolute. The crows that sat on young men's heads with eggs have now hatched them and become a large family. The black birds with their fierce beaks fly around the men and tease and menace them. Still the young men are not distributed in their stupor. Instead they lead their disintegration to a sad finale. Cobwebs, crows, lizards, snakes are entangling men and women but they are unable to cast off these evil forces. The supremacy of the beasts, birds and insects over men and all the terror, torture and pain they imply, are too much for some young men. They cut off their own heads and move around. Either they do no feel the need for the head in such environment or they think the heady is a mere physical burden or a nuisance. Or they do not want to paint the head with all the faculties it provides to a person causes. Or they think that heedlessness is the fashion of the day. Anyway, they cut their own heads and feel at home while walking around head in their hands.

CHRIST SERIES
In the Christ series: Sadequain shows the crime being committed in front of the Christ, still a little alive, on the Cross. The artist shows devout men, who do not follow the significance of the crucifixion, making the Christ seem an accomplice. There is even a murderer who offers a bowl of blood to the Christ in a spurt of mistaken devotion.