Abir Pothi continues its roundup of standout showcases from India Art Fair 2026, spotlighting five more booths where cultural narratives, technology, and craft converge with striking impact.
Australian High Commission: Grace Lillian Lee’s Guardians
Booth 001
From Australia’s Torres Strait Islands, Grace Lillian Lee presents The Winds of Guardians, weaving ancestral stories into contemporary form. A proud Miriam Mer Sempse woman born in Cairns (1988), Lee revives traditional techniques through Dream Weaver masks and guardian figures, linking past rituals to future dreams. Founder of First Nations Fashion + Design (FNFD), she blends Torres Strait heritage with fashion—collaborating with Jean Paul Gaultier in 2024 for woven couture at Brisbane Festival. Her work graces collections at National Gallery of Victoria, Art Gallery of South Australia, and beyond; BOF 500 recognized her in 2025.
DMINTI: International Artists showcase
Booth K03
New York’s DMINTI champions art-tech intersections, backing creators like Judy Chicago and Laurie Simmons. Here, Mumbai sculptor Sonal Ambani unveils The Last Stamp—a stainless-steel monument of timepieces pierced by a red arrow, mourning Denmark’s vanished postboxes amid digital tides. Visitors write postcards (mailed physically, archived digitally), bridging analog emotion with tech inevitability. The booth pulses with questions on obsolescence, participation, and how progress quietly erases everyday rituals.
Michelangelo Pistoletto is presenting his work Mirror of Eternity, 2025
For over six decades, Italian artist Michelangelo Pistoletto has returned to the mirror throughout his lifelong practice as a way to place the viewer at the center of art. Mirror of Eternity is a work of art that invites all of humanity to step into a state of immortality through artificial intelligence. As technology evolves, we have created a virtual sky—a digital dimension—around our planet.
To participate in Mirror of Eternity, you upload a portrait of yourself, the system merges it with another’s portrait, and you witness the birth of an entirely new face—one that has never existed before. In this act of artificial creation, we mirror the processes of nature—perpetual renewal, generation after generation. In Mirror of Eternity, your likeness is preserved not as static memory, but as an ever‑evolving presence. It remains active in the virtual world, continually meeting others, giving rise to new combinations—new expressions of shared humanity. In this way, your digital self participates in an ongoing cycle of creative rebirth, echoing the timeless rhythms of life itself.
A powerful, immersive, and unifying experience, Mirror of Eternity invites audiences not only to view the artwork, but to become part of it—as vital, active participants within Pistoletto’s visionary practice. The work raises profound questions: How do we see ourselves in technology? What does it mean for identity to persist beyond life? And how can art invite us into a collective space that merges past, present, and future?
Latitude 28: Miniatures Meet Modernity
Booth C07 & K02
Delhi’s Latitude 28 blurs South Asia’s visual heritage with today’s urgencies—identity, ecology, exile—via miniatures, embroidery, and sculptures. Afghan-Australian Khadim Ali anchors a solo spotlight, his Hazara-inspired demons and tapestries refracting displacement through Mughal mastery. Joined by Farhat Ali’s pop miniatures, Maryam Baniasadi’s urban Persian scenes, Pratul Dash’s scarred landscapes, Sanket Viramgami’s Kantha-stitched calm, and debuts from Hasseena Suresh’s terracotta fragility and Jayati Bose’s mythic watercolors. No preachiness—just layered dialogues between real and imagined worlds.
Britto Arts Trust: Bangladesh’s Experimenters
Booth 004
Dhaka’s artist-run Britto Arts Trust (est. 2002) fuels interdisciplinary risk-taking across Bangladesh, bridging regional voices to global stages like biennales and museums. Their fair presence spotlights experimentation—new ideas unbound by medium, fostering collaborations that challenge how culture evolves in the Global South. Expect bold, boundary-pushing works from practitioners who treat art as catalyst, not commodity.
Purushottam Trust: Printmaking’s Legacy
Booth 005
Honoring educator P.D. Dhumal, the Purushottam Public Trust (2013) nurtures India’s graphic arts through workshops, scholarships, and global exchanges. This booth celebrates print as living discipline—accessible yet profound—elevating printmakers from margins to mainstream. It’s a quiet insistence on craft’s power amid spectacle, connecting Dhumal’s lineage to tomorrow’s disciples.
These booths prove the fair’s magic: heritage recharged, futures questioned. Full Part I here
Athmaja Biju is the Editor at Abir Pothi. She is a Translator and Writer working on Visual Culture.
