Alka Chadha Harpalani writes about the late artist JM Subramani and his rich legacy with reminiscences of others who knew him closely.

Striking an optimistic note, Ranjan Kaul sees the likelihood of better art emerging during and after the Covid-19 pandemic.

Using the film “The Father” as a referential Shujaat Mirza dwells on how art can intervene creatively and enhance our understanding of life.

John Elliot writes on Krishen Khanna's current work on bandwallahs during the Covid pandemic with accompanying visuals working in his home.

Johny ML discusses the journeys of some select works of art that travel like “an abandoned stone”.

Ranjan Kaul takes an insightful journey into the past to look at how artists have responded to pandemics and pestilence over the centuries.

V. Divakar, in conversation with Santanu Borah, speaks about the "exclusive artists" who have hijacked the real art that happens in India.

Sharad Raj discusses mise en scene (the setting and every other element) in cinema and its role in giving the film maker a distinct voice.

John Elliott writes on the Saffronart exhibition on the Last Supper and interviews Krishen Khanna on his focus on the role of Judas.

Aakshat Sinha sheds light on NFT (Non-Fungible Token) with specific focus on the art world and dispels some prevailing myths surrounding it.

Vandana Kumar writes about the celebrated French actress Isabelle Huppert and her penchant for playing morally ambiguous characters.

Shantala Palat writes about the art of the Bhil tribe with their distinctive dotted style and its rich heritage, culture and history.

Johny ML writes about 'Trespassers', a group of 10 graffiti artists who have been doing mural projects in the villages and towns of Kerala.

Ranjan Kaul reflects on the work of Antony Gormley while presenting the insights given by the artist in his webinar talk organized by KNMA.

Ranjan Kaul reflects on the work of Antony Gormley while presenting the insights given by the artist in his webinar talk organized by KNMA.

Abhimanyu Kumar dwells upon the problem of art and its reception by the Public.

Shantala Palat chooses Warli and Saura from India's folk and tribal art forms for the first part of her series on Folk and Tribal art.

P Achari makes case for a more radical form of criticality in art that moves away from affable eulogies and rejects cultural homogenization.

Shujaat Mirza writes on the current Online art space and how Covid has made the online space more relevant today and what lies ahead.

Ranjan Kaul clears common misconceptions in his essay 'Recognizing Good Art'.