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Nature Morte marked its 30th year in 2026 by moving to A9 Gulmohar Park in Delhi and opening The Evolution of the Soothsayer, a two-part exhibition bringing together 35 artists from the gallery’s history. Rather than a conventional retrospective, the show frames artists’ changing roles in contemporary life through work spanning painting, sculpture, photography, installation and new media.
What Nature Morte at 30 marks
Nature Morte was founded in Delhi by Peter Nagy in 1997. Hindustan Times reported on October 2, 2026, that the gallery’s anniversary coincided with its move to a new permanent home at A9 Gulmohar Park. The gallery’s three-decade story, as presented in the report, is not only about a new address: it is also about how the work it exhibits and the audience for that work have changed.
Nagy 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 of learning about Indian modern and contemporary art and meeting artists, he established Nature Morte in Delhi. The report says others advised him to choose Bombay, whose contemporary art scene was then more developed, but he saw an opportunity in Delhi.
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What is The Evolution of the Soothsayer?
The anniversary exhibition is a two-part presentation of 35 artists associated with the gallery across its history. Nagy and gallery director Aparajita Jain conceived it to include different generations and media. Its subject is the artist’s changing place in contemporary life—amid globalisation, identity politics and digital technologies—rather than a chronological account of the gallery alone.
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Hindustan Times reported Part One dates through October 10, 2026, and said Part Two was scheduled for October 17 to December 12, 2026. Those dates are the report’s schedule, not confirmation that the second part took place as planned. Current opening hours, visitor access and exhibition status are not established here.
Part One artists and works
The report names 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
- Vandana Kothari
Works discussed include 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.
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Part Two artists
The report listed the following artists for Part Two, which it scheduled for October 17 to December 12, 2026:
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- 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
- Zimbiri
Why the gallery’s choice of media matters
Nature Morte showed photography, video and installation alongside painting at a time when, in Nagy’s recollection, the Indian art market was heavily oriented toward painting. He recalls that photography by artists such as Dayanita Singh and Anita Dube was considered radical, and that explaining editions, signed prints and photographic processes helped collectors become more comfortable with the medium in the early 2000s. This is Nagy’s retrospective account, not a measured study of the market.
The anniversary show’s mix of painting, sculpture, photography, installation and new media extends that history of working across forms. Its range connects gallery relationships across generations while keeping attention on what artists are doing now, rather than treating their work only as evidence of the gallery’s past.
How Peter Nagy describes the gallery’s role
Nagy describes a gallery as helping create a context for work and generating interest around what it presents. He also says his selection test is whether artists pursue ideas seriously over time and bring craftsmanship and durability to the work. In his account, conceptual ambition and making are complementary: “It’s two sides of the coin,” he tells me. “The artist is still a craftsperson.”
That perspective helps explain the exhibition’s emphasis on the artist’s place in a changing society. Nagy puts it this way: “I’m not talking about the galleries. I’m talking about the artist.” He adds, “The artist is predicting their own future.” These are his views as quoted in Nawaid Anjum’s Hindustan Times report, not a claim that the exhibition offers a single forecast.
What the report says about collectors
Nagy describes a younger Indian collector class that includes people who studied or worked abroad and returned, and whom he sees as more willing to take risks. He also says younger business families commission large, site-specific works for corporate and private spaces. The report provides these as his observations; it does not give independent demographic or market statistics to quantify them.
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Sources and visit information
The exhibition, artist roster, gallery history and attributed comments above are drawn from Nawaid Anjum’s October 2, 2026, Hindustan Times report, “Nature Morte at 30”. The report is the source for the listed dates and does not establish current hours, access arrangements, ticketing or whether Part Two proceeded as scheduled. Check the gallery’s current announcements before planning a visit.
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