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Sahana Ramakrishnan
February 25 - April 4, 2026
Sahana Ramakrishnan
Weird FishesFebruary 25 - April 4, 2026Sahana Ramakrishnan’s new paintings and sculpture dance upon the thresholds between worlds. Across canvases and painted panels, the exhibition weaves folklore and field research shaped by recent travels in the Arctic Circle. Ramakrishnan’s palette is anything but frigid, yet her works ruminate on the ocean as an enigmatic underworld. As mythology insists, such realms are not devoid of life, but they are bound to different laws, and largely sealed from the perceptions of the living. In polar Norway, Ramakrishnan listened via hydrophones through glacial ice to the songs of belugas, seals, and narwhals, drawn toward a dimension that was close enough to hear, but impossible to inhabit.Mammals and fish recur as emblems of evolutionary divergence and figures of magical crossover. In Selkie (2026), a human soul pulses inside the body of an Arctic seal, suggesting that shapeshifting may be a psychic event, or a form of yearning. While northern folklore casts selkies as seducers who draw humans to watery graves, Ramakrishnan frames the lure as reciprocal: in Seduction of the Sea Queen (2026), a siren’s voluptuous fins signal not only erotic power, but a hunger for something beyond her element. In The Death of Venus (2026), Botticelli’s sea-born goddess of love is returned to the ocean and devoured by fishes, crossing out of iconography and into the food chain. More cosmology than tragedy, the scene affirms that even divinity surrenders to cycles of transformation. Dissolution is also a form of becoming—and beauty is granted no exception.The show’s centerpiece, The Magic Flower (2026), takes the form of a kavad, an illustrated wooden storytelling box whose narrative unfolds as successive doors are opened. Inside blooms an original tale of love and crossings: two lovers find a flower so beautiful that it ignites passion, then catastrophe—for inside the blossom waits a heavenly force of change, one that must lead desire through death’s portal. The kavad suggests depth over linear progress, moving deeper into story and image, across thresholds that cannot be crossed in ordinary time. For Ramakrishnan, whose practice is characterized by material and symbolic layering, the form becomes a vehicle for journeying into underworlds, submerging us in the recognition of our own unending transformations.— Alex Ardyce Jones
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TARINI SETHI
February 25 - April 4, 2026
TARINI SETHI
Speaking with the Same Tongue 25 February - 4 April 2026In the work of Delhi-based artist Tarini Sethi, the body becomes a site of infinite possibility. Drawing from India’s expansive art-historical canon, spanning miniature painting to tribal traditions, Sethi constructs a universe entirely of her own making. Inspired by Indian conceptions of the sacred, particularly the multi-limbed deities and their mounts, she imagines evolutionary futures shaped by bodies unbound by fixed notions of identity, biology, or form itself.Sethi offers a vision of Indofuturism that is at once startling and seductive, utopian yet deeply psychosexual. Eroticism and abjection entwine within her compositions, where bodies are simultaneously erogenous and confrontational. While grounded in the aesthetic traditions of the subcontinent, her work reaches toward something more primal and universal, probing the uneasy intersections of power, pleasure, grotesqueness, and the sacred. Across various works on paper, Sethi employs precise, historically grounded modes of mark-making to evoke bodily form and sensation. Rather than merely imaginining new deities within an established pictorial canon, she asserts entirely new modes of sensory experience. In Sethi's vision, the body is capable of anything, inviting viewers to reimagine their most primordal senses, feelings, and urges. Her compositions unfold cosmologies: universes that contain unstoppable bodies, bodeis that contain unending universes. -
Purvia Rai
April 11 - May 23, 2026
Detail Purvai RaiPurvai Rai
Choreography of the GridPurvai RaiPurvai Rai’s solo exhibition Choreography of the Grid begins from a simple premise: we live within systems. The most elemental grid—longitude and latitude—positions us on the surface of the earth, rendering the planet measurable and locatable. Yet this cartographic structure does not remain neutral. Across history, the grid mutates—from a tool of orientation into an instrument of division, regulation, and control.
In Punjab, colonial surveying transformed land into a quantifiable surface. After colonial Independence, land reform legislation redefined how much land could be held and by whom, shifting the grid from imperial allocation to bureaucratic regulation. Today, agricultural fields remain shaped by further systems of measurement: soil classifications, crop cycles, yield metrics, inheritance laws, and market demands. What appears vast and open is, in fact, highly structured.
The exhibition centers the agricultural field as a living grid—one that organizes land, bodies, labor, and belief through repetition. Farmers move along furrows; sowing and harvesting return seasonally; bureaucratic systems measure, record, and cap; infrastructure channels water through canal geometries. The grid measures, divides, allocates, and renders space legible to capitalist logics of productivity and extraction. Yet it is never only imposed. It is inhabited, softened, resisted, and rewritten through daily gestures—sowing, carrying, cooking, sweeping, weaving, repairing. Movement both follows and unsettles structure. Water seeps beyond boundaries, roots extend past property lines, winds disregard survey maps.
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Gurjeet Singh
July 18, 2026 - August 29, 2026
