Saloni Mathur

  • View of “Citizen Artist: Forms of Address,” 2013. Background, from left: Arunkumar H G, Country and City: Everyday Strangers, 2013; Rashid Rana, What Lies Between Flesh and Blood 3, 2009. Foreground: Jitish Kallat, Circadian Rhyme—2 & 3, 2012–13. Photo: Anil Rane.

    “Aesthetic Bind”

    LIKE SHOTS FIRED IN THE AIR in the midst of the seemingly limitless revelry of India’s contemporary art market, Geeta Kapur’s “Aesthetic Bind” was an arresting series of five exhibitions held in rapid sequence at the Chemould Prescott Road gallery in Mumbai. The occasion was the fiftieth anniversary of this historic space, one of the oldest commercial galleries on the subcontinent, which famously nurtured the first wave of modern artists in post-independence India at a time when modernism itself could not be taken for granted. Kapur, the preeminent Delhi-based theorist and seminal voice of a