The Art of Secularism: Modernist Art in Contemporary India (London: Hurst & Co Publishers/New York/Delhi: Oxford University Press, 2014).
Reviewed here, here, and here

The Perfect Frame: Presenting Modern Indian Art: Stories and Photographs from the Kekoo Gandhy Collection. (Mumbai: Chemould Publications and Arts, 2003).


Mithu Sen: Border Unseen, Eli and Edythe Broad Art Museum at Michigan State University, April 25-August 31, 2014. Links for press and reviews of the show here

Naiza Khan: Karachi Elegies, Eli and Edythe Broad Art Museum at Michigan State University, February 22-May 26, 2013.
Links for press and reviews of the show

selected articles

“Past Futures of Old Media: Gulammohammed Sheikh’s Kaavad: Travelling Shrine: Home,” in Arvind Rajagopal and Anupama Rao, eds, Media and Utopia: History, Imagination, Technology (New Delhi: Routledge, 2016), with a fully illustrated version published on CSSAAME Borderlines, 11 March 2016.

“Life in Ruins: Materiality, the City, and the Production of Critique in the Art of Naiza Khan,” Journal of Asian Studies 74:2 (May 2015)

“Turning To the Goddess: Anachronism, Secularity, and the “Late Style” of Tyeb Mehta and K. G. Subramanyan,” ARTMargins Journal 3.3 (October 2014), 45-67.

“’I am an Indian and a painter, that is all’: Intention and the Secular Subject in India,” in Sumathi Ramaswamy, ed., Barefoot across the Nation: M. F. Husain and the Idea of India (New Delhi: Routledge, 2010).

"The Moral Economy of the Street: The Bombay Paintings of Gieve Patel and Sudhir Patwardhan", Third Text 23:2 (March 2009), 153-165. Anthologized in Beth Harland and Sunil Manghani, eds., Painting: Critical and Primary Sources – Volume 4: Processes and Strategies (London: Bloomsbury Publishing, 2015), 171-183.

"The Secular Icon: Secularist Practice and Indian Visual Culture", Visual Anthropology Review, 24:1 (Spring 2008), 12-28. Revised version reprinted in Alev Cinar, Srirupa Roy, and Maha Yahya, eds. Secular Publicities: Visual Practices of Secularism and Religion in the Middle East and South Asia (Ann Arbor: University of Michigan Press, 2012).

“On Signature and Citizenship: Further Notes on the Husain Affair,” Towards A New Art History: Studies in Indian Art, Shivaji K. Panikkar, Parul Dave Mukherji, and Deeptha Achar, eds., (New Delhi: D. K. Printworld, Ltd., 2003), 276-287.

selected art writing

Ram bhakt Hanuman,” commissioned essay for You Can’t Please All: Bhupen Khakhar, edited by Chris Dercon and Nada Raza, Tate Modern (2016).

“The Painter as Patron [Bal Chhabda Obituary],” Art India vol. xvii, issue iv (July 2013), pp. 98-99.

“‘This space that is at the brink of erasure’: Intervention and the Aesthetics of Ruination in the Art of Naiza Khan,” in Naiza Khan (Hong Kong/East Lansing: Art AsiaPacific and Eli and Edythe Broad Art Museum Publication, 2013).

“Signature and the Secularity of Artistic Subjectivity,” in The SAHMAT Collective: Art and Activism in India Since 1989 (exhibition catalog), edited by Jessica Moss, Smart Art Museum/University of Chicago Press, 2013.

“Framing a Gallery of Heroes [Kekoo Gandhy Obituary],” Art India, vol. xvii, issue ii, (October, 2012).

“The Indian Art World, 1940-1990,” plus short essays on Jogen Chowdhury, Bhupen Khakhar, Gieve Patel, and K. G. Subramanyan in Midnight to the Boom: Painting in India after Independence (exhibition catalog), Peabody Essex Museum (Salem, MA) and Thames & Hudson, 2013.

“’He straddles several traditions but serves none…’: John Berger on F. N. Souza,” in Take on art magazine (New Delhi), special issue on Modernism, vol. 1, issue 3 (October 2010).

“His Was the First Sell-Out Show!,” interview with Kekoo and Khorshed Gandhy, crossing generations: diVERGE: Forty Years of Gallery Chemould, catalog for exhibition at National Gallery of Modern Art, Mumbai, December 2-14, 2003, 65-81.


Review of Iftikhar Dadi, Modernism and the Art of Muslim South Asia (University of North Carolina Press, 2010) for caareviews, published August 2012.

Review of Karen Strassler, Refracted Visions: Popular Photography and National Modernity in Java (Duke University Press, 2010) for Interventions, 14:1 (2012), 163-165.

Review of Kajri Jain, Gods in the Bazaar: The Economies of Indian Calendar Art (Durham: Duke University Press, 2007), in Journal of Asian Studies, 67:1 (February 2008), 337-9.

Review of Erwin Neumayer and Christine Schelberger, Popular Indian Art: Raja Ravi Varma and the Printed Gods of India (New Delhi: Oxford University Press, 2003), in Journal of Asian Studies, 63:4 (November 2004), 1177-1178.

“Subodh Gupta,” review of solo exhibition at Nature Morte Gallery, New Delhi, in Art AsiaPacific, 41 (Summer 2004), 81.

“Pushpamala N.” review of solo exhibition at British Council, New Delhi, in Art AsiaPacific, 40 (Spring 2004), 83.

“Mapping South Asian Art,” review of Masala: Diversity and Democracy in South Asian Art at William Benton Museum of Art, University of Connecticut Storrs, in Art India, 9:2 (April 2004), 20-21.