Decoding the rise of art exhibitions and fairs in India

Whimsical brushstrokes in subdued shades, depicting forbidden tales of desirous intimacy. Torrid colours splashed across expansive bases, charting tales of political upsurges. Canvases pierced with threads echoing the mythical tales of our origin. Sheets of metal sensuously moulded to form anthropomorphic anatomies—alive with the promise of life, and the sweet respite of death.There is no denying that contemporary Indian art is on the definitive rise.

Last October, the world watched as London’s Barbican Centre, under the curatorial stewardship of Shanay Jhaveri, hosted the world’s largest and first-of-its-kind contemporary Indian art exhibition. This was followed by a spectacular showcase of Indian artists and designers in Mayfair’s Berkeley Square as part of the 2024 edition of PAD London. With an even more exhilarating, record-breaking exhibit by Indian galleries and artists at Frieze London, the year ended triumphantly. Artists Viraj Khanna and Tarini Sethi debuted their work at Art Basel Miami, where the latter received the coveted Vortex Prize for her exceptional sculptures.

WALKING AMONG GIANTS

As the world finally takes stock of the immense artistic talent pouring out of India, fairs and exhibitions on home turf are not far behind. Started by Sunil Gautam in 2008 under the name ‘India Art Summit,’ the sixteen-editions-young India Art Fair is still the country’s biggest exhibition of modern and contemporary Indian art. In 2025, the fair recorded a whopping 116 exhibitors, including Indian and international galleries. What’s more? A one-of-a-kind Designer-in-Residence programme launched in collaboration with luxury fashion label Raw Mango—one of the fair’s long-standing collaborators and partners. 

Jaya Asokan, Fair Director at India Art Fair, credits the massive expansion of art fairs and exhibitions in the subcontinent to the country’s flourishing cultural economy and a burgeoning interest in the arts among younger collectors. “India’s robust economic growth, coupled with the presence of ultra-high-net-worth individuals, has spurred significant investment in the arts, providing fertile ground for the proliferation of events like this nationwide,” explains Asokan.

But events of this stature are not restricted to the country’s capital alone. Upasana Asrani, founder of Madras Art Weekend, credits the burgeoning Indian art scene to people’s eagerness to engage with art and culture in a more “meaningful and sensory manner” post the pandemic. To this end, the recently concluded third edition of the Madras Art Weekend celebrated art, design, and culture from southern India and beyond. Inspired by Jamakaalam, a traditional South Indian textile art form from Bhavani, Tamil Nadu, the exhibition opened with the unveiling of an exclusive textile showcase titled Threaded Visions. Programmes like these have further served to spotlight innovative art practices from India’s tier-two and tier-three cities. “Accessibility efforts such as tactile artworks have broadened the appreciation of multimedia practices, ensuring these artists occupy a central role in both national and international dialogues,” adds Asokan.

Fairs like the India Art Fair and the Madras Art Weekend are paving the way for Indian galleries to spotlight emerging artists and voices. Uday Jain, Director of Dhoomimal Art Gallery in Delhi, cites Vipeksha Gupta’s showcase by Blueprint 12, Sangita Maity by Shrine Empire, both in Delhi, and Rathin Barman by Experimenter Gallery in Kolkata as noteworthy examples. According to Asokan and Sunaina Anand, the co-founder of Delhi Art Week, artists like Umesh Singh, who reflects agrarian histories through reclaimed materials, and ceramist Partha Dasgupta are now enjoying national and global acclaim following successful runs at national art fairs.

ADDRESSING THE GAPS

While much deserves celebration, some gaps remain to be addressed. Anand, while acknowledging the diversity of art programmes across the country, insists on an increased interdisciplinary approach to curatorial practices. “This would allow for a more holistic representation of India’s artistic talent. Bhavna Kakar, co-founder of  Delhi Contemporary Art Week and founder of Latitude 28 gallery, adds, “Textiles as a medium are experiencing a revival, but it’s surprising how underrepresented they still are at many art fairs, especially considering India’s rich textile heritage.” 

The ability for Indian textiles and their rich heritage to capture the global imagination is best illustrated by Viraj Khanna, who recently exhibited his threaded canvases in Miami and New York. Khanna attributes the  widespread success of his work to the craftsmanship that his art champions. “I am using embroidery techniques, traditionally employed for clothing in India, and giving them a contemporary spin. The craftsmanship in  India is unmatched, and showcasing that internationally has been eye-opening for people everywhere,” he says.Priya Dali, creative director of the queer media platform Gaysi Family, delves further on this issue of  representation. 

At a time when queer lives and rights stood perched on a dangerous precipice in India, Dali and their team in December 2023, collaborated with Mumbai-based Khoj Studios and 47-A to mount a moving exhibition of contemporary queer Indian art titled Do You See Us? With themes of family, desire, queerness, and politics, the exhibition was a one-of-a-kind ode to Gaysi’s long-term commitment to championing queer voices from India. “We wanted to show the spectrum that we truly are as a community so people visiting the gallery could see different aspects of their queerness,” muses Dali.

PLAYING TO A GLOBAL AUDIENCE

Alongside critical national acclaim, Indian artists are now also basking in the glory of international recognition. “Many in the West are unaware of the immense talent and creativity that India produces,” Sethi ponders. “For us, it’s extremely hard to bridge that barrier and showcase it abroad. How does one get in touch with an international gallery or curator? How do you fall into their radar and expose yourself to that platform?” Khanna credits the visibility offered by digital platforms for his ticket to international recognition. “Rajiv Menon’s Los Angeles-based gallery got in touch with me after seeing my shows in India through Instagram. As did Harpers Books in New York City,” he shares.

Sethi and Khanna are not the only young Indian artists making waves internationally. Sukanya Ghosh, a multimedia artist for 25 years, was selected last year to inaugurate the Serendipity Arts Festival’s residency programme in association with the Royal College of Art, London. Ghosh, who has previously worked with family archives, found images, medical imagery, and text with techniques of collage, erasure, and deconstruction, concluded her three-month residency with an exhibition titled Maps of Belonging in RCA’s Hockney Gallery  overlooking Hyde Park. “I was very honoured to be the first South Asian woman resident artist at the RCA in 198 years! The residency presented the invaluable opportunity to be in London and visit a lot of art and cultural spaces,” reflects Ghosh.

THE BUSINESS OF ART

 According to the 2024 Hurun India Art List, sales by the top 50 Indian artists reached a record-breaking ₹301 crore, a 19 per cent rise from the previous year, with 92 per cent of these artists experiencing an increase in sales value. Works by leading artists such as Tyeb Mehta and Vasudeo S Gaitonde have achieved multimillion-dollar valuations. The role of legacy auction houses like Sotheby’s, Christie’s, and Bonham’s is undeniable.

According to Kakar, “Auction houses are also recognising the buying potential of South Asian collectors, and the  presence of online auctions further makes it accessible to younger artists as well as new collectors. This shift  reflects a broader global appreciation for South Asian contemporary art practices and the unique perspectives they offer.”

However, while the demand for Indian art continues to soar, a steady market for Indian photography is yet to emerge, warns Shuchi Kapoor, co-founder and director, Chennai Photo Biennale. As the sun continues to shine brightly on this fraternity of artists, whose recognition on global platforms has been long overdue, Ghosh  advocates for a robust and healthy ecosystem of financial grants to support artists from smaller cities and  alternative art spaces. 

“We could increase open calls, institute inclusive practices, and peer reviews for projects and grants, which would widen the reach and scope for artists,” she says. “Sustainability of our shows is also something we are working on. Our shows must be designed and curated to be portable and re-exhibited,” adds Kapoor.

Lead image: Sculpture by Satish Gupta, Sanchit Art Gallery for Delhi Art Week 2024; image credit: Courtesy Delhi Art Week

Images: Courtesy Sukanya Ghosh, Tarini Sethi, Delhi Contemporary Art Week, Instagram/Gaysifamily, Viraj Khanna, and India Art Fair

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