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India’s art space is evolving every day and opening its doors to the younger generation. Yet, as we move ahead, we must look back and seek guidance from the past— something Delhi-based Dhoomimal Gallery has reiterated time and again as it plays witness to the Indian art movement taking shape since 1936. What started as a modest printing shop back in the day has now transformed into an institution. Today, under the stewardship of Uday Jain, the gallery continues to bridge the past and future of Indian art, embracing modern trends while thriving on its rich legacy.
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A Little History
Jain sat with us to reflect on the weight of carrying forward an establishment that has played host to some of the biggest names in Indian art, from F.N. Souza and J. Swaminathan to Manjit Bawa and Manu Parekh. “There’s always a sense of pride in belonging to such a legacy, but it also brings the challenge of keeping up with expectations,” he shares. “Artists once joked that no one would buy their work when I grew up, and now, watching how the market has evolved, I find myself cherishing those simpler times while adapting to the commercial realities of today.”
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Over the years, key moments have shaped Dhoomimal Gallery’s trajectory. Moving to Connaught Place in the heart of New Delhi in 1936 was the first, but it was in 1947, with the birth of the Delhi Silpi Chakra, an artists’ group founded in 1949 that helped promote modern art in New Delhi, the gallery became a pivotal space for artistic discourse. “At the time, Delhi was emerging as an art hub, and our gallery provided much-needed space for exhibitions and discussions,” Jain explains. “Then came the 1960s, when Swaminathan and Souza joined us, bringing a creative energy that defined an era.” With artists, critics, and musicians—such as Ustad Amjad Ali Khan— converging under its roof, the gallery became more than just a space for exhibitions; it was a melting pot of artistic exchange.
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Nurturing young talent has been central to Dhoomimal’s philosophy. After Jain’s father, Ravi Jain, passed away, the family established the Ravi Jain Memorial Foundation in 1991. “My mother, Uma Jain, led the initiative to support emerging artists,” he says. “Since then, we’ve awarded over 120 artists, some of whom—like G.R. Iranna and Sonia Khurana—are now well-established in the contemporary art space.” The gallery continuously seeks to strike a balance, showcasing legends while carving out space for the next generation. But what determines which artists get that platform? Jain believes curation must go beyond trends. “Art is more democratic than ever,” he notes. “Textiles, video installations, and performance art—all have found a place in the mainstream. But the essence of quality and aesthetics remains non-negotiable. Whether it’s a Ravi Varma portrait or an AI-generated piece, the core values of artistic merit must endure.”
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While Indian contemporary art is gaining traction globally, challenges remain. “There was a time when Indian art was more sought after internationally than it is today,” Jain observes. “In the ‘80s and ‘90s, diplomats and collectors would acquire pieces for a fraction of their value. Now, with platforms like the Venice Biennale and Art Basel, we see greater representation, but there’s still work to be done.” He stresses the need for collective efforts. “India is often recognised for its traditional arts—Mughal miniatures, temple paintings—but our contemporary scene needs stronger, unified representation on the world stage.”
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As the art world welcomes newer digital platforms, Dhoomimal Gallery has stepped up in the digital maze, offering virtual walkthroughs and digital viewing rooms. However, Jain remains a staunch advocate for physical interaction with art. “The culture of visiting galleries is dwindling. Today, people browse art like they shop online, reducing it to mere transactions. I want to revive the experience of walking into a gallery, engaging with artists, and truly absorbing the work,” he says. “Art has been made too exclusive, too intimidating. It should be accessible to everyone—students, enthusiasts, and not just collectors.” Looking ahead, he envisions a more inclusive and dynamic art ecosystem where younger generations actively participate. “Art is timeless. It transcends language, geography, and time. Even before a child learns to speak, they know how to scribble. That purity is what makes it so powerful,” he muses. “And that’s what keeps me inspired—knowing that no matter how much things change, art will always remain a universal language.”