The first major exhibition of Gallery Nakshatra, The Summer, Content and Discontent, displayed the works of 16 artists who had started their careers in the 1950s and 60s. The show could be divided into two groups. The first group explored the anatomy of violence, tyranny and the struggle to maintain sanity in a hostile world. Prokash Karmakar’s turbulent horse and Bijon Chaudhury’s depiction of archers and fencers captured the moods of anguish and anger.

The second group was more romantic ? we can refer to Suhash Roy’s Radha in dry pastel and Dhiraj Chowdhury’s seated woman adjusting the saree on her head in this regard. Jati Das’s Birahini captured the essence of love. Shuva Prasanna’s rendition of a red flower as the symbol of yoni had an erotic aspect to it. Shipra Bhattacharya’s Desire depicted the heroine’s head as a pawn on the chessboard.

Sudip Ray’s Charulata in watercolour was at best a potboiler. Atin Basak’s bald- headed monk with conflicting emotions was typified by the red and blue contrasts while Sanatan Dinda’s framed sculptural face with a vermilion petal on the forehead had archetypal overtones. Suman Roy’s Crucifixion and Wasim Kapoor’s Head of Christ were monotonous. The show also proved that these days artists prefer quick finish acrylic to slow drying oils.