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For over seventy years, a significant piece of art remained largely unnoticed, displayed in the hallways of a Norwegian hospital. However, in an unexpected turn of events last month, the 1954 painting Untitled (Gram Yatra) by Maqbool Fida Husain was sold at auction for an astounding $13.7 million in New York, setting a record for the highest price ever achieved for a painting by this renowned Indian artist.
This auction not only marked a new high for Husain but also represented the highest price ever fetched by any modern Indian artwork, massively outpacing initial estimates by four times. This sale has been recognized as the most expensive artwork auctioned thus far in 2025, causing a significant buzz in the global art community.
Historically, artists from India and broader South Asia have struggled to gain the same level of recognition as their Western peers. Their works have been underrepresented in major galleries and exhibitions, resulting in minimal visibility at significant art fairs where the market is driven today.
Recently, however, there are emerging signs of a transformative moment for Indian art. The past few years have witnessed record-breaking auction prices for notable 20th-century Indian artists. According to Artsy, an international online art broker, demand for Indian artists has surged more than that of any other nationality during 2024.
Nishad Avari, who leads South Asian Modern and Contemporary Art at Christie’s in New York, shared insights into the recent Husain sale, which took over ten years to arrange. He believes that it reflects a broader shift in the international art landscape, recognizing Indian artists’ contributions, driven from within the country itself.
“The art ecosystem in India has been expanding significantly over the past couple of years,” Avari stated. “There is a surge of new participants and a newfound confidence fostering discussions, both nationally and globally. This recognition is long overdue.”
‘The world never took us seriously’
India previously experienced an art surge in the early 2000s, where contemporary works were seen as lucrative investments. However, many critics argued that this boom was speculative and ended abruptly with the 2008 financial crisis, which left many artists, curators, and gallerists skeptical about future prospects.
Apart from the earlier boom, current stakeholders express optimism about the present climate. Aparajita Jain, co-founder of Nature Morte, one of the leading private galleries in India, elaborated on a newfound appreciation for both historical and contemporary Indian artworks. This time, pieces are more sought after for personal enjoyment rather than speculative profit.
The Indian art scene has long suffered from inadequate governmental funding, leading to uninspiring exhibitions focused mainly on a select few artists. As India’s wealth has grown, so too has the community of art patrons and collectors. Jain noted that the push for funding is now largely driven by Indians who seek representation of their culture beyond a Western narrative.
The rise of new private galleries and museums across India has played a key role in promoting both renowned 20th-century artists and emerging contemporary talents. Notably, the Museum of Art and Photography in Bengaluru opened in 2023, while significant contributions from prominent collectors like Kiran Nadar have led to the establishment of new cultural institutions in major cities.
Artists view this as an exhilarating time for the national art landscape. Tarini Sethi, a multi-disciplinary artist based in Delhi, remarked, “Historically, the art institutions and collectors in India have not regarded our artists as equal to international talents, leading to a perception of being undervalued globally. That narrative is shifting.”
More than just ‘paintings of cows and Gandhi’
Sethi’s work, which presents bold commentary on topics such as sexuality and unity, challenges the conventions around art in India. She recounted instances where her professors in the U.S. critiqued her work for lacking an “Indian essence.” As domestic galleries begin to highlight contemporary Indian artists, perspectives on Indian art are expanding beyond tired stereotypes of folk traditions.
Although much progress has been made, Sethi acknowledged that there remains a significant journey ahead. After showcasing her artwork at an art fair coinciding with Art Basel in Miami—which had only two participating Indian galleries—she felt heartened that Indian artists are beginning to recognized on the global stage.
Internationally, the momentum for Indian art has also picked up. Prestigious venues such as London’s Barbican Centre and Serpentine Gallery, the Metropolitan Museum of Art in New York, and the Pompidou in Paris have prominently featured Indian artists, showcasing works previously unseen outside India. At the 2023 Frieze Art Fair, Kolkata’s contemporary gallery Experimenter received accolades for its presentation of diverse female artists.
Responding to the lack of acknowledgment for South Asian work, Rajiv Menon, a gallerist in Los Angeles, created a space dedicated predominantly to South Asian artists with the aim of introducing their work to a broader audience. His current exhibition features Pakistani artist Noormah Jamal, and he shared how rapid acquisitions of exhibited pieces have demonstrated significant interest.
“Many themes present in the artworks – such as climate change and migration – resonate beyond South Asia, addressing universal human experiences,” Menon noted. “This opportunity to showcase these artists in the West has just begun to unfold, but the potential is immense.”
Source
www.theguardian.com