Gardens of Senses

There is even more glitz and glamour than last year as the 16th India Art Fair (IAF) opened with a bang on February 6. On display till February 9, it is larger, more international, and the walls are bursting at the seams. This year IAF has expanded with Public Projects, Foundation Projects, increased international gallery participation, outreach programmes, and now also has a vibrant talks section. There are even copies of an arts newspaper for visitors to browse through during this moving feast of artwork on display, and for sale.

IAF stands as one of Asia’s most significant cultural events, drawing comparisons with Art Singapore and Art Dubai. With over 120 galleries and more than 40 emerging South Asian artists participating, the exhibition reflects a distinct subcontinental identity. Yet, despite its expansion, the fair remains caught between commercial viability and artistic ambition, often struggling to define a unique identity beyond its market-driven approach. While the event showcases a broad spectrum of artistic voices, its organisation leans towards fragmented presentations rather than a cohesive artistic dialogue. Scattered installations and vastly varied booths make it difficult to trace a clear thematic or conceptual thread.

When I think of the IAF, two other art fairs come to my mind: Art Basel and Frieze Art Fair. Art Basel has editions in Basel (Switzerland), Miami Beach (US), Hong Kong and Paris, making it a global presence, featuring renowned galleries from around the world showing modern and contemporary art. All its many sections have a unique focus. Frieze Art Fair, on the other hand, is completely dedicated to contemporary art with a strong focus on living and emerging artists and their language. Frieze Art Fair, annually held in London, has editions in New York and attracts a diverse range of audiences, collectors, and art enthusiasts. It also has curated segments, such as Frieze Projects. Frieze Artist Award provides a platform for emerging artists and innovative projects. IAF focuses on artists from India, Sri Lanka, and Bangladesh, and Pakistan is conspicuous by its absence. The aim of IAF is to promote cultural exchange between South Asia and global art, which needs more support.

There is little democracy in the appreciation and aesthetics of art. It is about personal taste and choices. Along with the usual suspects and the usual trade and retail dealings going on at the art fair, there are certain displays and artworks that are refreshing. The Foundation section, for example, is endearing, exhilarating, and all about art for the sake of art. Karishma Swali, Chairperson of Chanakya Foundation and Creative Director of the Chanakya School of Craft, as usual, brings alive the art of textiles. Architect and artist Vishal K Dar curates an excellent section for the Gujral Foundation. Kalakriti Art Gallery from Hyderabad with Ankon Mitra’s installation is riveting, to say the least. The Foundation section has a wonderful blend of art, craft, and design. It is intriguing to see how Sarita Handa transforms herself into a textile artist with her giant Jain Chhods, not to forget Ankon Mitra, who always surprises us with yet another interpretation of the art of folding. Galleries promoting folk and tribal art that showcase the better-known traditions are on display. It would be great to see lesser-known forms, such as the art from the northeast, which is missing.

There are a lot more outdoor projects this year, but Asim Waqif’s artwork does little to either titillate the senses or reimagine waste. Outdoor works by M. Pravat, Yogesh Barve, Bhushan Bombale, Claire Fontaine, Mohd. Intiyaz, Ayesha Singh, Vibha Galhotra, Deborah Fischer, and Umesh S fail to captivate strong emotional or intellectual engagement. Although works addressing gender, politics, and environmental concerns are present, their impact is diluted by the overwhelming variety.

What I notice immediately at IAF is the reappearance of international galleries. The growing presence of international galleries, including Lisson Gallery and David Zwirner, highlights India’s expanding role in the global art economy. Alongside them, Indian galleries, collectors, and institutions compete for visibility, ensuring a dynamic interplay between commerce and artistic expression. The Carpenters Workshop Gallery does not have wall-based work, but it closely examines art, design, and craft. Unlike the design section of the art fair, which does not organically stitch the elements of art and design together.

The inclusion of a design component at the art fair does not quite sync with the fair’s trajectory. It would be more appropriate for this segment to be part of the India Design Fair. The interface between art, craft, and design must be worked out with judicious insights, perceptions, and an innate sense of understanding of the materiality of the three disciplines. The design aspect at IAF is more about beauty rather than structure, art, and design.

Amongst the contemporary galleries, three galleries catch my eye—Gallery Maskara, Studio Art, and Rukshaan Art. Gallery Maskara pushes the envelope of gender and identity with T Venkanna’s ink on rice paper drawing, She Knows the Right Way to Use It. This bold, powerful, visceral drawing sears at the heart, while Ashna Singh’s Studio Art presents work with textured materiality. Baiju Parthan and Shivani Aggarwal’s work, as always, remains consistently fascinating. By showing T Venkanna’s work, owner and curator Abhay Maskara highlights one of the most prominent voices dealing with gender and sexuality. Maskara stays away from the usual suspects who drive art fairs and introduces a language that is relevant and significant at the moment. At Art Alive gallery, it is interesting to see a porcelain artist based out of Baroda, Vinod Daroz, who works with stoneware and especially with glazes. The work of the artists of Rukshaan Gallery brings extensive variety, like Ajay Dhapa with his paintings and sculptures, and Sajal Sasanka Sarkar’s artwork Pleasantness within Is Pleasantness Around made on dyed modified cotton paper pulp is also noteworthy. Many more works, from the woodcuts of Prathap Modi to a banana leaf dipped in indigo from Baroda, bring a refreshing language to the arts.

Footfalls and interest in IAF are only growing, which shows an increasing interest in South Asian art. IAF is steadily increasing in size, improving its display, and is opening to foundations, private dealers, and artists in public art projects. The art fair has acquired a certain trajectory of its own. It has definitely succeeded in creating a buzz and inspiration, leading to the creation of Art Mumbai. While Art Mumbai in November 2024 was a more local and smaller affair, with a ritzier and filmier component to it.

What IAF lacks is a certain gravitas for the initiated, despite the fabulous VIP lounges where people come and network. IAF is primarily a dynamic space for trade and retail. It is a haven for dealers, particularly secondary market dealers, who come looking for artists to include in future auctions. What is missing is the next generation of artists for young collectors, even though they do a Young Collector’s Programme. There are very few galleries that take the risk of showing new languages of art and emerging trends, with Vida Heydari Contemporary and Tarq Gallery being exceptions. Most galleries play a safe game to ensure they recoup the large amounts invested.

While IAF finds its place in the sun, it must rethink its approach to curation, organisation, and thematic engagement. Moving beyond the conventional booth setup toward a more unified exhibition format could allow for a clearer narrative, where artworks interact with one another in meaningful ways. Introducing themes—for example, technology, ecology, climate change, sexuality, and sustainability—could provide depth and context, encouraging visitors to engage with contemporary issues through art. Dedicating a portion of each edition to a specific medium, whether sculpture, film, or digital art, could broaden perspectives and challenge traditional notions of what constitutes an art fair. In a country with few public platforms for open artistic and intellectual dialogue, the fair has the potential to be more than just a commercial event. By fostering bolder conversations and pushing the boundaries of artistic presentation, it could distinguish itself from its European and Asian counterparts, transforming into a truly influential cultural landmark.

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