Nilima Sheikh 'Fractured Skies' MoMA NY Sep 27, 2026–Jun 13, 2027

Source MoMA
“The artist’s role is to bear witness—to both the past and the present,” says Nilima Sheikh. Over the course of her five-decade career, Sheikh has transformed narrative painting as a new way of engaging with history, highlighting lived experiences, illuminating regional stories, and foregrounding women’s voices. Her research-based art practice draws on a vast array of historical accounts, archival materials, and literary sources. Adapting the traditional scroll format and painting primarily in casein and gum temperas, Sheikh weaves together image, text, and stenciled patterning to create multilayered narratives that unfold as interconnected vignettes. Nilima Sheikh: Fractured Skies brings together selections from her series Each Night Put Kashmir in Your Dreams (2003–14) and Home, Land (2023–25) alongside Shahid (Witness) (2025–26), a new, site-responsive set of paintings making its debut at MoMA.
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What’s next for South Asian art? Christie’s Damian Vesey on the market’s evolution

Source Luxebook by Indu Joshi
We are certainly seeing growing participation from institutional and museum-level buyers, as well as non-diaspora collectors, particularly for works of strong historical significance. There has always been a natural bias towards buyers from the region or its diaspora, which is consistent across many collecting categories. We are no longer seeing interest driven by a narrow group of collectors – instead, there is a widening base of engaged buyers who are deeply informed about the historical and cultural importance of these works. The collector base today is markedly more informed and historically engaged than it was during the mid-2000s boom. We are seeing a growing number of collectors who have taken the time to study the field in depth, reading the available literature and revisiting historic auction catalogues that go back decades. This is a very positive development for the market. It reflects a move away from short-term speculation towards more considered and sustainable collecting, grounded in knowledge and connoisseurship.
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“ We are not part of nature. We are nature ”

Source Online Catalogue
Mayur and Tushar Vayeda are two brothers born into the Warli tribe, one in 1987 and the other in 1992. Their grandfather founded the first school in their village of Ganjad (Maharashtra, India), and their mother is a teacher. Both pursued higher education in Mumbai, one in management, the other in multimedia. After their studies, the two brothers decided to leave the megalopolis to return to their native country and participate in the revitalization of their own culture. They returned to drawing, as they did daily with the other children in the village. Their artistic approach consists of creating a dialogue between the animist culture of their tribe, the interdependence of humans and nature, and the ecological challenges facing our planet. > read more

Indian Gallerist Sundaram Tagore Credits Friendships for His International Success

Source Artsy by Gautami Reddy
Né en 1961 au sein d’une des familles les plus influentes culturellement en Inde, Tagore a grandi à Jorasanko Thakur Bari, la maison ancestrale de sa famille à Calcutta, dans l’est de l’Inde, avant de vivre entre Santiniketan et Delhi. Jorasanko était également le lieu de naissance de son arrière-grand-oncle Rabindranath Tagore, le poète, éducateur et peintre qui, en 1913, devint le premier Asiatique et le premier non-Européen à remporter le prix Nobel de littérature. « Calcutta, ancienne capitale de l'Inde britannique, était une ville exceptionnellement cosmopolite », se souvient Tagore. « Peu de gens savent que la première exposition du Bauhaus hors d'Europe s'y est tenue en 1922, présentant des œuvres de Paul Klee et de Wassily Kandinsky aux côtés de celles des plus grands artistes modernes indiens. » La maison de son enfance attirait un défilé incessant d'intellectuels, de militants politiques et de personnalités culturelles.Son père, Subho Tagore, appartenait à ce milieu. « C'était un poète, un peintre et un rebelle à sa manière », explique Tagore. En 1943, Subho a contribué à fonder le Calcutta Group, un collectif d'artistes modernistes précurseurs qui rejetait le romantisme au profit d'un langage visuel plus urgent et socialement engagé. Ses artistes vendaient leurs œuvres pour financer le mouvement pendant la Seconde Guerre mondiale, la lutte pour l'indépendance de l'Inde et la famine du Bengale de 1943 – une catastrophe, aggravée par la politique coloniale britannique, qui fit des millions de victimes.
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Discover online 27 years of passion for contemporary Indian art through 27 souvenir images and 27 exhibition photos

Source India 20 Years of Passion "Since 1996, my passion for contemporary Indian art has led me to organize dozens of exhibitions in Delhi, Paris, New York, and elsewhere. I had the privilege of meeting two legends of contemporary Indian tribal art, Jangarh Singh Shyam and Jivya Soma Mashe, with whom I worked for over twenty years. Thanks to Abhay Maskara, I had the privilege of meeting and working with T. Venkanna and Shine Shivan, two of the most unique contemporary Indian artists of their generation. Today, I continue this adventure with Maximiliano Modesti and the gallery we created together in Brussels. We are currently exhibiting at the Palacio Duques de Cadaval (Évora, Portugal), until October 25th, a selection of works we have both collected over the past 25 years." Hervé Perdriolle
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Christie’s Kiran Nadar exhibition offers unique panorama of Indian art

Source Eastern Eye by Amit Roy
Those who want to learn about modern and contemporary Indian art by visiting just one exhibition should head – now – to Christie’s in King Street in London to see The Meeting Ground, a collaboration between the UK auction house and the Kiran Nadar Museum of Art (KNMA) in New Delhi. Eastern Eye joined one given by Premjish Achari, who began by introducing himself: “I am a curator at the Kiran Nadar Museum of Art, and in short form, we call it KNMA. It’s located in New Delhi, and it is South Asia’s largest private museum. We started as a museum collecting the modern and contemporary art of South Asia, and from there we expanded to around 20,000 objects. So from modern and contemporary, now we are also collecting folk, indigenous, antiquities, and miniatures. This (selection for London) is a very small percentage of that collection. This represents the modern, contemporary, indigenous, and folk. It’s also intergenerational.”
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Contemporary Now 2026 turns Chennai into a city-wide gallery, tracing the present through living histories of art

Source Indulge Express by Anoushka Kundu
What makes a work of art contemporary? Is it the moment it is created, the materials it employs or the questions it dares to ask? Contemporary art rarely offers definitive answers. Instead, it asks how the past continues to live in the present. That thought runs through Practices in Continuum: Tracing the Present, the curatorial theme of Contemporary Now 2026. For 20 days this month, Chennai will become a city-wide gallery. Across galleries, artist studios, and cultural spaces, 66 artists and seven leading galleries from across the country will bring exhibitions, performances, walkthroughs and conversations to the city.
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Unbound Forms at the Hepworth: how Indian and Bangladeshi artists turned craft traditions into contemporary sculpture

Source The Conversation by Hannah Sabapathy
Craft traditions are often imagined as practices rooted in the past: carefully preserved techniques passed from one generation to the next. But Unbound Forms at The Hepworth Wakefield reveals a more dynamic story. Bringing together the work of five pioneering women artists from India and Bangladesh, the exhibition shows how materials such as textiles, metal, ceramic, wood and paint can be transformed into works that honour inherited skills while pushing them into new territory. The artists in the exhibition lived through a period of enormous change. Four were alive when India gained independence in 1947, while Mrinalini Mukherjee was born just two years later, in 1949. Their work emerged from the newly formed nations of India and Bangladesh, where traditions of making, craft and cultural identity were being reasserted.
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