As winter settles over Mumbai, the city transforms into a haven for art lovers with the arrival of Art Mumbai. The fair’s third edition, held from November 13 to 16, unfolded amid the crisp sunlight and lush greenery of the iconic Mahalaxmi Race Course — an idyllic setting for one of South Asia’s leading art events.
This year, around 80 galleries transformed the space into a tapestry of creativity, showcasing nearly 2,000 artworks. The fair brought together a mix of established masters, adventurous mid-career talents and daring new voices. Modern and contemporary works stood side by side, turning the venue into a sensory feast.
This year marks the centenary of Tyeb Mehta, one of Mumbai’s greatest modernist artists, whose works continue to resonate deeply. Standing before his iconic Bull (diptych) was unforgettable. Painted during the last years of his life, this monumental piece uses minimal yet powerful brushstrokes to capture themes of resilience and struggle.
Mehta’s 1956 painting Trussed Bull set a record when it sold for ₹61.8 crore at an auction this April, becoming the second-highest amount ever fetched by an Indian painting — just behind M.F. Husain’s Gram Yatra, which was auctioned for ₹118 crore. Encountering Mehta’s work at Art Mumbai’s Bearing Weight (with the lightness of being) exhibition, made possible by the Kiran Nadar Museum of Art in collaboration with the Tyeb Mehta Foundation and Saffronart Foundation, was a poignant reminder of his lasting impact on Indian art.
Trussed Bull by Tyeb Mehta
Krishen Khanna, who turned 100 this year and is the last surviving member of the Progressive Artists’ Group, was represented by his evocative red Bandwalas at the Dhoomimal Gallery booth. The faded red paintings tell the quiet, touching stories of Delhi’s bandwalas at weddings in Khanna’s unique, lyrical way.
Mumbai’s art scene is anchored by a thriving culture of galleries, most of them located in south Mumbai. Areas like Colaba, Fort and Kala Ghoda host galleries and art institutes such as The National Gallery of Modern Art (NGMA), Jehangir Art Gallery and Chemould Prescott Road.
Alongside the fairs, parallel exhibitions and curated art walks map out an art circuit that guides visitors through these art spaces, weaving together the city’s creative pulse and allowing for an immersive exploration of Mumbai’s artistic landscape. NGMA hosted a retrospective titled Krishen Khanna at 100: The Last Progressive alongside Art Mumbai.
Lisson Gallery, making its presence felt among international participants, showcased works by significant global artists including Chinese artist in exile Ai Weiwei and Mumbai-born British sculptor Anish Kapoor. Ai Weiwei’s brightly painted vases resonate deeply with history, reflecting his enduring interest in historical craft practices and the struggles faced by artisans.
One of the mid-career artists I was particularly interested in at Art Mumbai was Vikrant Bhise, whose large canvases, predominantly painted in blue, vividly depict the Ambedkarite struggle and life in Mumbai’s cramped, overcrowded chawls. His works were displayed at the booth of Experimenter, a Calcutta-based gallery.
Art by Vikrant Bhise. Courtesy: The artist
Rising from humble beginnings, Bhise’s practice consistently explores the themes of B.R. Ambedkar, Dalit identity and the marginalisation faced by communities on society’s fringes. His visual narratives evoke a spirit of social justice and resistance, often reminding me of the legendary Mexican muralist Diego Rivera, due to their shared commitment to portraying the plight and strength of the oppressed.
Baroda-based sculptor Dhruva Mistry, a Fellow of the Royal Society of British Sculptors, showcased his stainless steel sculpture ALoC: The Object at the Akara Art booth. Following the fair, I spoke with Mistry over the phone, and he explained that this particular work incorporates the empty space within its rigid steel form as an integral element, while a rounded shape imparts dynamic momentum to it. Known for experimentation, his large-scale sculptures are globally acclaimed, including those in Birmingham’s Victoria Square.
Gulammohammed Sheikh’s painting Beyond the Ridge was recreated through intricate hand embroidery and displayed at the Milaaya Art Gallery booth, blending traditional craft with contemporary art. Varunika Saraf’s embroidered works at the Chemould booth highlight women as powerful socio-political changemakers and rebels.
Young sculptor Sudipta Das’s tiny clay figures were basking in the sun. Her theme revolves around nomadism and displacement. Though the figures look delicate and charming at first glance, they carry the collective pain of migration.
An interesting and conceptually unique wood-and-steel sculpture by T.V. Santhosh, a detailed replica of an engine, was showcased at The Guild Art Gallery. This work stands out for its intricate craftsmanship.
At Art Mumbai, the crowd is a mix of connoisseurs, artists, students, socialites, curators and curious visitors. Being in Mumbai, where fashion is woven into daily life, there’s an unmistakable style that permeates the event. In the energetic bustle of the fair, one witnesses a microcosm of Mumbai itself: eclectic and alive.
