ARPITA SINGH has a flower fetish. Blossoms creep up the legs of a nude female in Security Check, 2003; inscribe patterns on the household furnishings in The Lily Pond Carpet, 1994; and adorn the margins of A Man with a Telephone, 1992. They spring forth from vines or bundle into bouquets that enshrine her characters, creating intricate backdrops for the mise-en-scènes collected in “Submergence: In the midst of here and there.” Curated by Roobina Karode, the octogenarian’s first retrospective comprises more than 160 works drawn from six decades of artistic production. One of India’s foremost