The India Art Fair saw a surge of visitors, with the overwhelming turnout forcing organizers to close the gates early over the weekend. Beyond the footfall, the event’s success was reflected in the brisk sales across various genres and categories. With 120 exhibitors participating—the highest number in any edition—the fair reaffirmed its status as a crucial hub for the Indian and South Asian art market.
Ashish Anand, CEO and Managing Director of DAG, noted that the maturing art market and the significance of fairs in bringing together different elements of the art world were evident. He emphasized how strong sales on the first day set the tone for the rest of the event. Several artworks sold in the range of Rs 40 lakh to Rs 1.5 crore, indicating robust interest from collectors. Among the notable works that found buyers at the DAG booth were a JP Gangooly mountain landscape, SH Raza’s abstract set within an old window frame, Laxman Pai’s vibrant spring scene from Paris, Nirode Mazumdar’s piece from his ‘Quest’ series, and a 1975 oil on canvas by Madhvi Parekh.
At Vadehra Art Gallery, collectors showed a keen interest in contemporary and modern pieces. Works by Arpita Singh, MF Husain, and SH Raza saw strong demand, reaffirming their timeless appeal. A particular highlight was a canvas by Atul Dodiya that depicted India’s evolving urban landscape, which sold within hours of the fair opening. The gallery’s representatives expressed enthusiasm over the renewed interest in Indian contemporary artists, with many buyers making significant investments in emerging talent.
Experimenter Gallery, known for showcasing cutting-edge contemporary art, recorded impressive sales as well. The booth featured works by Ayesha Sultana, Rathin Barman, and Biraaj Dodiya, all of whom found eager buyers. The gallery representatives observed a shift in buyer preferences, with younger collectors gravitating toward experimental media, including mixed media installations and digital art. They noted that this evolution signaled a broader acceptance of contemporary art forms beyond traditional paintings and sculptures.
The fair also saw a growing market for textiles and traditional art forms. Delhi’s Gallery Espace sold several pieces by Nilima Sheikh and Manjunath Kamath, whose intricate storytelling and fusion of traditional styles resonated with collectors. Meanwhile, Pichvai Tradition & Beyond, which focuses on Rajasthan’s Pichvai art, recorded strong sales of intricate hand-painted textiles, reinforcing the relevance of heritage art in modern collections.
Several international galleries also benefited from the fair’s success. London-based Grosvenor Gallery showcased works by Pakistani modernists, including Sadequain and Zahoor ul Akhlaq, drawing attention from both Indian and global buyers. Meanwhile, GALLERYSKE, a contemporary space based in Bengaluru, reported multiple sales of works by Sudarshan Shetty and Shilpa Gupta, whose conceptual pieces sparked conversations about identity and socio-political themes.
First-time exhibitors, including Terrain.art, which focuses on digital and NFT-based art, also found an audience. Their sales of blockchain-certified artworks suggested a growing interest in digital ownership, particularly among tech-savvy collectors. A spokesperson from the gallery highlighted that the art world was increasingly embracing technology, with younger buyers seeing NFTs as a legitimate extension of their collections.
The fair’s success wasn’t limited to established collectors. Younger buyers, corporate investors, and interior designers actively participated, further diversifying the market. Several galleries reported first-time buyers making substantial purchases, indicating a broader audience engaging with the art world.
With strong sales, a diverse range of buyers, and a renewed appreciation for both traditional and contemporary art, the India Art Fair reaffirmed its position as the premier platform for South Asian art. The event not only facilitated transactions but also fostered deeper engagement with artistic narratives, setting a promising tone for the region’s art market in the coming year.
The presence of corporate buyers and institutional collectors added another layer to the fair’s commercial success. Major Indian and international companies invested in artworks to expand their corporate collections, signaling confidence in the long-term value of South Asian art. Financial institutions, hospitality groups, and luxury brands made significant purchases, often favoring large-scale contemporary works that could complement modern office spaces and high-end interiors.
Independent collectors also demonstrated a strong preference for sculptures this year. Galleries showcasing three-dimensional works, such as Nature Morte and Chemould Prescott Road, reported a surge in interest for sculptural pieces. Artists like Ravinder Reddy and Thukral & Tagra saw their works quickly snapped up by buyers looking for statement pieces that blended contemporary themes with traditional Indian aesthetics. The demand for sculptures reflected a shift in collecting habits, with patrons moving beyond canvas-based art toward more immersive forms.
A significant highlight was the representation of women artists, both in modern and contemporary categories. Galleries featuring works by pioneers like Amrita Sher-Gil, Arpita Singh, and Nalini Malani reported strong sales, reinforcing the increasing recognition of female artists in the market. Additionally, several contemporary female artists, including Tanya Goel and Prabhakar Pachpute, attracted new collectors, emphasizing the growing inclusivity in the art world.
Another notable trend was the rise of sustainable and eco-conscious art practices. Several artists used recycled materials, organic pigments, and biodegradable elements to create thought-provoking pieces that addressed environmental concerns. Collectors gravitated toward these works, recognizing both their aesthetic appeal and the pressing themes they represented. This shift indicated a growing awareness among buyers about the intersection of art and sustainability, with many expressing interest in acquiring pieces that aligned with their environmental values.
As the fair wrapped up, many galleries reflected on the evolving landscape of the Indian art market. The event proved that collectors are not just investing in names but are also willing to explore new forms and narratives. The energy at the fair suggested a renewed enthusiasm for art collecting, setting the stage for future exhibitions and auctions that will likely continue this momentum. With its record-breaking sales and diverse participation, the India Art Fair once again cemented its status as the epicenter of artistic engagement in South Asia.
