Beyond the strokes: Tradition reinvented at India Art Fair 2025

Thematic display of architectural statements & artistic dialogues

More than an art exhibition, for South Asian artists and a feast for art lovers India Art Fair 2025, held recently in Delhi, was like a festival featuring unique designs, stunning artworks, record sales and global buzz.

The 16th edition of the India Art Fair, that was held recently, turned Delhi into a dynamic centre of South Asian art and attracted art lovers with its breathtaking designs and captivating artworks. More than just a showcase, it was an event that celebrated established masters, new entrants and the interaction between South Asian culture and that of the rest of the world.

Immediately setting the tone was a Delhi-based artist, Ayesha Singh’s monumental skewed histories and site lines, a 142.6 metres facade which set the tone with a bold claim that critiqued how history has overlooked women’s contribution to Indian architecture. It also served to honour those contributions in a song.

Jaya Asokan, Fair Director, India Art Fair, says this year’s event was a particularly dynamic one, with ambitious gallery presentations and rare offerings for the strong group of visiting collectors.

“Here we hosted and celebrated artists, gallerists and representatives from leading museums and institutions from across the world,” Asokan tells India & You.

She adds that the quality of the work on view at the fair and across the city was a testament to the art fair’s long-standing commitment to shine a light on Delhi as a global arts hub and that South Asian art was truly having a moment.

On display throughout the fair was excellence in craftsmanship, as best illustrated through wall-mounted sculptures by Ashiesh Shah and the Aspura gallery of Jaipur Rugs, where collectible carpets merged art and design.

The fair provided a unique retrospective on modern Indian art by focusing on various milestones of famous personalities. Birth centenaries of famed artists like K G Subramanyan and Satish Gujral were celebrated with a special exhibition. Delhi Art Gallery’s “India Past and Present” had on display Hathyogini Kali 1, the last sculpture of Gogi Saroj Pal, and other masterpieces of maestros M F Husain and S H Raza.

Sales were strong, especially on the opening day. Vadehra Art Gallery, contemporary art gallery based in Defence Colony, Delhi, reported significant interest in works by Atul Dodiya, Shilpa Gupta, and Vivan Sundaram, with prices ranging from USD 2,500 to 300,000. Nature Morte sold 70 pc of their exhibition by the second day, including a Jitish Kallat, a solo exhibition of the artist, for around USD 100,000. Shrine Empire, a contemporary art gallery sold two works by Nandita Kumar, a  new media artist, for over USD 30,000 each and multiple smaller works at the USD 10,000 each.

A total of 24 first-time exhibitors also participated in the event, alongside other emerging artists whose works portrayed modern concepts.

Installations explored the theme of ‘Ecocentrism’, promoting sustainability and ecological thinking. These works focussed on the relationship between nature and humans, using materials that represent life’s cyclical nature, attachment, detachment, decay and renewal.

A unique addition to the fair was the launch of the Swali Craft Prize, India’s first grant recognising contemporary craft innovation, marking a transformative moment in the country’s interdisciplinary artistic landscape.