Zones of Contact: Propositions on the Museum (2013)

The exhibition ‘Zones of Contact: Propositions on the Museum’ deliberates upon the museum as a site under construction, it's contours still being defined and evaluated in the present day scenario in  South Asia. Brought out alongside the exhibition, this catalogue encloses images and text on the artworks that were showcased, and through them reflects on the museum as a place of confluence where varied cultures and communities come together along with their beliefs and ideologies to generate new vocabularies, memories, and histories. By questioning the position of memory in this contested and activated public space, the booklet brings together myriad themes concerned with fast paced changing socio-political realities of the present times.

The texts by the curators, Akansha Rastogi, Deeksha Nath, and Vidya Shivdas along with contributions by artists assist in throwing light on how the artworks respond to each other and to the exhibition as a whole.

Cynical Love: Life in the Everyday (2012)

‘Cynical Love: Life in the Everyday’ presents the theme of a fast paced globalized world and the undeniable contribution of technology as well as the imperative need for it. Technology acts as a life-support for the democratic art forms and pushes them to newer inventions. Besides being a necessity, technology also challenges the aura that art confers upon an object. The artists in this exhibition responded to the museum space which is located within a technological hub. They made an attempt to register the different stages of technological advance since industrialization first ushered in the 19th century.

The catalogue showcases artworks by artists who juxtapose and integrate these stages of inventions with contemporary views of design, architecture, and film. It includes an essay by the curator of the exhibition, Gayatri Sinha, and images of works of eighteen artists who were part of the exhibition. Each image of the artwork is accompanied by a text written by the artists, providing insights into the conception of the work, their ideologies, surrounding that leave an impression on the creations every time and their backgrounds that enrich the ideas.

Crossings: Time Unfolded (2012)

Crossings: Time Unfolded II captures the spirit of the exhibition which attempted to comprehend the fast changing world and distinct experiences of the temporal. Following in the footsteps of the exhibition, the catalogue abandons chronology altogether, to intersect diverse yet interrelated realties across time it strikes a conversation among artists belonging to different generations. This de-centralised approach results in questioning the stability of any singular position. The text in the publication corresponding the exhibition further helps to build historical tangential points for the viewing and making of certain visual languages and vocabularies. 

Time Unfolded (2011)

Time Unfolded examines the second exhibition of KNMA, which was held at the newly inaugurated museum space at Saket in 2011. This book showcases some seminal artworks, which were classified into separate sections or themes in the exhibition. Sections that rested within the elaborate scope of modern and contemporary. This carefully crafted book ponders on the exploration and unravelling of time by artists in their own specific ways, delineating the slippery contours of the then and now along with the anticipation of what is to come through their art works.

Time Unfolded commences with a foreword by Kiran Nadar and a concept note by Roobina Karode. It contains images of artworks that were exhibited, coupled with elucidations on the practice of the artists, their processes and preoccupations as well as their techniques and the socio-political conditions that influenced their works in varying degrees. A brief summary about each work forms part of the book in order to illuminate the conceptual idea that engendered the exhibition. 

Open Doors (2010)

The exhibition ‘Open Doors’ was a revelatory journey through time serving a dual purpose. It worked towards drawing a temporal arc not only through the historically relevant events in 20th century Indian art through the exhibited art works , but also simultaneously shed light on Mrs. Nadar’s  foray into a creative voyage in the late 80s which led her to amassing a noteworthy collection. The publication title similarly functions as a metaphor and is emblematic of the expressive power of works of art which lead us into an enigmatic world. The catalogue along with the exhibition was the introduction of the museum’s collection to public.

Sonia Khurana
Oneiric House | round about midnight (2014)

Oneiric House: round about midnight is a booklet that accompanied the eponymous KNMA exhibition of artist Sonia Khurana at Jor Bagh, New Delhi. It contains Roobina Karode’s curatorial note and a perceptive conversation between Belinder Dhanoa and Sonia Khurana through which the former makes an attempt to delve deeper into the artists’ work. The conversation navigates through Khurana’s installations and articulate the poetics of dwelling and desertion.

Excerpts from artists’s notes shed light on how the dream house was occupied by a series of symbols and disparate cast of characters, and further investigate the inherent features as well as the momentariness of the house. The images of the installation contained in the catalogue offer a suggestion of the site-specific exhibition and the various facets of her multi-layered work.




New Delhi

145, DLF South Court Mall, Saket
New Delhi, Delhi 110017
011-4916 0000

10:30 A.M - 6:30 P.M

Plan Your Visit


Plot No. 3 A, Sector 126,

10:30 A.M - 6:30 P.M

The museum is closed on Monday and all public holidays.