I will be spending the 2017-18 year at the Heidelberg Centre for Transcultural Studies with support from the Alexander von Humboldt Foundation. I will be working on a book on contemporary art after the liberalization of India's economy. More information is found here.

The long-awaited exhibition of Bhupen Khakhar's work at Tate Modern opens this coming week. I am delighted to be going to the opening and then returning on July 2 to do a public program at Tate on Bhupen Khakhar's work. That program is the last event in a workshop organized by the Paul Mellon Centre, Asia Art Archive, and Tate called "Showing, Telling, Seeing: Exhibiting South Asian Art in Britain." I will give a new paper on Triangle Network and Gasworks in collaboration with Naiza Khan.

When I did my dissertation research in Baroda, I spent a few months going through Jyoti Bhatt's extraordinary archive of photography and hearing his stories. When I became interested in secularism, I put aside that research for another time. And so I was delighted to contribute an essay about his practice to a volume called Baroda: A Cosmopolitan Provenance in Transition edited by Priya Maholy Jaradi and published by Marg.

This volume roughly coincided with the Asia Art Archive's publishing their digitized version of his papers and photographs.

A bunch of nice things have happened to The Art of Secularism lately. A few months ago, a beautiful paperback edition was released in India by OUP Delhi. You can see it here:

Then, the book was named a New Republic book of the year on global issues. See the story by Kapil Komireddi here:

And finally, the first academic review of the book was published in the Museum Anthropology Review. It was written by Ken George, whose work I have long admired, and even reviewed for that same publication. That link is here:

The Oxford University Press edition of The Art of Secularism was released on July 1.

OUP's listing for the book is here:

Amazon is currently offering a modest discount:

Residents of the UK should of course go no further than Hurst & Co for their copies.

Mithu Sen's solo exhibition, Border Unseen, opens at the Broad MSU on April 25. The show is a massive installation in dental polymer, tracing a pink toothy line across a long prism-shaped room. This is the first of Mithu's teeth works installed on suspended armature, so it requires a lot of on-site installation time and collaboration with the fantastic Broad team. It is all quite exciting.

See the exhibition's page here:

Congratulations to Ram Rahman and Jessica Moss on their Forbes India Art Award for best "exhibition of Indian art curated on an international stage." I was there in the front, watching Ram accept the award with a perfect mix of self-ridicule and seriousness. As he said, because the award goes to Sahmat, it goes to the entire art community.

I'm also happy to report that the North American tour of the exhibition will be extended through 2015.

More information on the awards is here:

I am so delighted that Naiza Khan was honored for her extraordinary body of work, including of course the exhibition we did at the Broad.

The Prince Claus Fund people made a video about her work that I think captures part of what makes Naiza so special:

On December 15, 2013, I gave a talk entitled "Past Futures of Old Media: Gulammohammed Sheikh's Kaavad: Travelling Shrine: Home" at the lecture series curated by Pushpamala N. at Suresh Jayaram's innovative art space in Bangalore, 1 Shanthiroad. It was a great crowd and an excellent first experience in one of the most exciting art towns in India.

Naiza Khan: Karachi Elegies opened at the Eli and Edythe Broad Art Museum at MSU on February 23, 2013. The show surveyed Naiza's work since 2007 and included two extraordinary large oil paintings made for the exhibition. It was accompanied by a volume on Naiza's work co-published by the Broad and Art AsiaPacific and edited by H.G. Masters.

For details see