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Nature Morte marked 30 years in 2026 with a move to A9 Gulmohar Park in Delhi and a two-part exhibition, The Evolution of the Soothsayer. Rather than present a straightforward retrospective, the show brings artists from across the gallery’s history into a conversation about what an artist can be in a changing world.
What Nature Morte’s 30th anniversary marks
Nature Morte began in Delhi in 1997, founded by Peter Nagy. Hindustan Times reported on October 2, 2026, that the gallery had moved to a permanent home at A9 Gulmohar Park and opened its anniversary programme there. The move and exhibition frame the anniversary not just as a look back, but as a statement about the gallery’s continuing place in contemporary art.
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Nagy told Hindustan Times that he first visited India in 1990, later spending time at the Faculty of Fine Arts in Baroda and the Kanoria Centre for Arts in Ahmedabad. After several years learning about Indian modern and contemporary art and meeting artists, he chose Delhi for the gallery, although advisers favored Bombay, whose contemporary scene was then more developed. This is the founder’s account of the decision, as reported by the newspaper.
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What is The Evolution of the Soothsayer?
The two-part exhibition is reported to include 35 artists associated with Nature Morte across generations. Its stated premise is a conversation about the artist’s changing place in contemporary life, not a chronological survey or a simple display of past highlights. The works span painting, sculpture, photography, installation and new media.
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The gallery’s framing, as relayed by Hindustan Times, considers how artists work amid globalisation, identity politics and digital technologies. Nagy and gallery director Aparajita Jain wanted the anniversary show to include different generations and media. The title’s “soothsayer” suggests an artist who anticipates possible futures; Nagy put it this way: “The artist is predicting their own future.”
Part One: works and artists reported
Hindustan Times named these Part One participants: Abir Karmarkar, Alicja Kwade, Ayesha Singh, Basist Kumar, Bharti Kher, Dayanita Singh, Dhruvi Acharya, Manish Nai, Manisha Parekh, Mark Prime, Murari Jha, Pushpamala N, Remen Chopra van der Vaart, Sagarika Sundaram, Srishti Rana Menon, Thukral & Tagra, and Vandana Kothari.
The article highlighted Dayanita Singh’s Time Capsule, Sagarika Sundaram’s Interference, Manisha Parekh’s Swing and Float-1, Abir Karmarkar’s West Wind, and Dhruvi Acharya’s consume 5: all the signs were there. These examples sit within a range of media rather than defining the show as a painting-only survey.
Part Two: announced roster and dates
The October 2 report said Part Two was scheduled for October 17 through December 12, 2026, and listed Aditya Pande, Bharat Sikka, Jitish Kallat, Kamrooz Aram, LN Tallur, Martand Khosla, Mona Rai, Neeraj Patel, Nidhi Agarwal, Olivia Fraser, Parul Gupta, Ramakrishna Behera, RN Palaniappan, Raqs Media Collective, Reena Saini Kallat, Subodh Gupta, Vibha Galhotra, and Zimbiri. Those are reported plans and participants; the report does not establish whether Part Two ultimately ran on those dates. Current exhibition status and visitor arrangements are not established here.
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Why the gallery’s choice of media matters
Nagy’s account of Nature Morte’s early programme emphasizes showing photography, video and installation alongside painting, at a time when, he recalled, the market was heavily dominated by painting. He described photography by artists including Dayanita Singh and Anita Dube as radical in India. In the early 2000s, he says, explaining editions, signed prints and photographic processes helped collectors become more comfortable with the medium.
That history is useful context for an anniversary exhibition that places multiple media and generations together. It is also a founder’s retrospective account, not a quantified study of the Indian art market; the report supplies no independent market statistics.
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How Nagy describes the gallery’s role
Nagy describes a gallery as helping create a context in which work can be encountered, while recognizing that sales are part of the enterprise: “You show things because you’re going to create a context. And you’re going to create a buzz and make people excited at what you’re showing. And then you sell what you can sell.” His account of choosing artists emphasizes sustained engagement with ideas, alongside craftsmanship and work that can endure. He also says, “It’s two sides of the coin,” he tells me. “The artist is still a craftsperson.”
He also offered observations about collectors: he sees a younger Indian collector class, including people who studied or worked abroad and returned, as more willing to take risks, and says younger business families commission large site-specific works for corporate and private spaces. These are Nagy’s impressions as reported by Hindustan Times, not measured demographic findings.
What the anniversary show offers as a way to read the gallery
The exhibition’s value as a 30-year marker lies in the combination of histories it brings together: artists at different stages of their careers, a range of media, and the gallery’s evolving account of what contemporary art should address. Its present-focused premise resists treating the anniversary as a closed chapter. The work, in this framing, is not only evidence of what Nature Morte has shown, but a way to ask what artists are seeing and making now.
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