Project 88

Works by Amol K. Patil and Amitesh Shrivastava are on display at Apsara studios, London, as part of the show 𝘓𝘰𝘰𝘬 𝘏𝘰𝘸 𝘉𝘳𝘪𝘨𝘩𝘵𝘭𝘺, a group show running till 27 June 2026. The exhibition explores the interplay between music and art, opening to mark the release of composer Alex Mills’ debut album by the same name.
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Amol K. Patil
𝘛𝘩𝘦 𝘗𝘰𝘭𝘪𝘵𝘪𝘤𝘴 𝘰𝘧 𝘚𝘬𝘪𝘯 𝘢𝘯𝘥 𝘔𝘰𝘷𝘦𝘮𝘦𝘯𝘵 𝘋𝟣
Drawing On Aluminium
18.3 x 26.5 inches
2022

From the collection of Diya Lahiri

Amitesh Shrivastava
𝘋𝘪𝘨𝘨𝘦𝘳𝘴,
acrylic on canvas,
48 x 66 inches,
2016

From the collection of Charlotte Meritt

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Install photo credit James Retief

On June 18th 2026, we open the second part of 𝘕𝘦𝘷𝘦𝘳 𝘸𝘢𝘴 𝘢 𝘴𝘩𝘢𝘥𝘦, curated by Prajna Desai, at Project 88, Mumbai from 6 to 9 pm.

Join us for curated walkthrough’s with some exhibiting artists and the curator, at 6:30 and 8:00 pm.

Tejal Shah’s diptych; left to right: 𝘚ā𝘯𝘥𝘩𝘺ā𝘣𝘩ā𝘴ā | 𝘛𝘸𝘪𝘭𝘪𝘨𝘩𝘵 𝘓𝘢𝘯𝘨𝘶𝘢𝘨𝘦, 𝘛𝘸𝘪𝘭𝘪𝘨𝘩𝘵 𝘓𝘢𝘯𝘨𝘶𝘢𝘨𝘦 || 𝘚ā𝘯𝘥𝘩𝘺ā𝘣𝘩ā𝘴ā; is on display at Frieze No.9 Cork Street at Project 88’s group show 𝘛𝘳𝘦𝘦𝘪𝘴𝘩 curated by Prajna Desai. The show will run till 5 July 2026.

‘Am I sāndhyābhāsā itself, that alluring ta***ic language whose name I take? Or am I quoting or questioning it? So might imply Shah’s mirror-like diptych, each of its two parts simultaneously printed from a single pine source. Roughly equivalent to ‘meaning in the gap’ or ‘meaning in the twilight’, sāndhyābhāsā is a Sanskrit term for an esoteric communication system of visual, non-verbal, and verbal language often used by Indian and Buddhist ta***ic texts.
..To Shah the diptych might present “a something that is a not knowing”. But she quickly acknowledges its Proustian affect. The images remind her of palpable gloaming, actual ‘sandhya’. This gloaming, astonishingly, is recalled not from pine’s mountainous homeground, but from moments “by the sea”.’

Excerpt from a text by Prajna Desai

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Tejal Shah
𝘚ā𝘯𝘥𝘩𝘺ā𝘣𝘩āṣā | 𝘛𝘸𝘪𝘭𝘪𝘨𝘩𝘵 𝘓𝘢𝘯𝘨𝘶𝘢𝘨𝘦 ,𝘛𝘸𝘪𝘭𝘪𝘨𝘩𝘵 𝘓𝘢𝘯𝘨𝘶𝘢𝘨𝘦 || 𝘚ā𝘯𝘥𝘩𝘺ā𝘣𝘩āṣā
Diptych, Botanical print with chir pine & rust vinegar on handmade paper
22 x 18.5 inches
2026

Project 88 is pleased to present the second part of the group show, 𝘕𝘦𝘷𝘦𝘳 𝘸𝘢𝘴 𝘢 𝘴𝘩𝘢𝘥𝘦, curated by Prajna Desai.

This installment will run from 18 June to 18 July 2026. The preview is on Thursday, 18 June, from 6-9 pm.

Artists include Anarya, Claire Baker, Debabrata Hazra, Debasis Beura, Janaki Gandhi, Khageswar Rout, Mahesh Baliga, Neha Luthra, Poulomi Basu, Raqs Media Collective, Sandeep Mukherjee, Sahil Sawant, Sashikanth Thavudoz, Soumen Mondal, Soumya Netrabile, Subhankar Chakraborty, Suresh Kumar Singha, and Tejal Shah

Trupti Patel’s 𝘓𝘰𝘰𝘬𝘪𝘯𝘨 𝘢𝘵 𝘢 𝘮𝘢𝘯𝘨𝘰 𝘵𝘳𝘦𝘦 𝘪𝘯 𝘵𝘶𝘳𝘮𝘰𝘪𝘭 is on display at 𝘛𝘳𝘦𝘦𝘪𝘴𝘩, a group show presented by Project 88 at Frieze No. 9 Cork Street, London. The work was first shown at the Bombay Art’s Festival 1987 as part of 𝘛𝘩𝘦 𝘚𝘤𝘶𝘭𝘱𝘵𝘦𝘥 𝘐𝘮𝘢𝘨𝘦, in homage of Pilloo Pockhanawala.

‘...Drawing on memory and place, this work would seem to put memory in place as much as place in memory. For in her home’s garden, there once stood a mango tree, seasonally fruiting and lush. Once. What the tree was, becoming another over time, both things are true across the work’s boisterousness in the round. Old delight jostles with current injury.
..Topographically abstracting to an extreme, sulking and restive, this is a disobedient form. A slabbed, stacked, folded hunk is mercilessly thwacked and welted with a wooden baton, then further gouged. Only its conceptually deft scatter of small bunched fruit translates heft to bole, branchless and leafless.
..Hints of mauve deepen the tension. Only under such a fever can the core be imagined shifting. Overstory gone, the bole is dappled with afterglow, bits of sky it once let through, and ghostly orange gems of fruit.’

Excerpts from Prajna Desai’s text about the work

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Trupti Patel,
𝘓𝘰𝘰𝘬𝘪𝘯𝘨 𝘢𝘵 𝘢 𝘮𝘢𝘯𝘨𝘰 𝘵𝘳𝘦𝘦 𝘪𝘯 𝘵𝘶𝘳𝘮𝘰𝘪𝘭,
terracotta, colour slips, acrylic sealant,
30 x 29 x 29.5 inches,
1987 (signed inside)

Tomorrow is the last day to see Neha Choksi’s ‘Sketches for 1997 performance 𝘚𝘶𝘨𝘢𝘳 𝘛𝘳𝘢𝘪𝘯 𝘙𝘪𝘥𝘦 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘈𝘯𝘵𝘴’ at the Potter Museum of Art in Melbourne as part of the group show 𝘈 𝘷𝘦𝘭𝘷𝘦𝘵 𝘢𝘯𝘵, 𝘢 𝘧𝘭𝘰𝘸𝘦𝘳 𝘢𝘯𝘥 𝘢 𝘣𝘪𝘳𝘥.

‘Do ants ever get a vacation?  In my 1997 performance 𝘚𝘶𝘨𝘢𝘳 𝘛𝘳𝘢𝘪𝘯 𝘙𝘪𝘥𝘦 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘈𝘯𝘵𝘴, I lured ants into a beachside tour package.  My tour provided worker ants with “much needed” leisure in the relaxation of their scavenging duty.  I envisaged the ant’s need for a break from scouting and acquiring food.  Sugared transport vehicles attracted them to join in “irresponsible” fun.  Curious passersby stopped me when I took my sweet train for a walk in Los Angeles.’

– Neha Choksi

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Neha Choksi
Sketches for 1997 performance 𝘚𝘶𝘨𝘢𝘳 𝘛𝘳𝘢𝘪𝘯 𝘙𝘪𝘥𝘦 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘈𝘯𝘵𝘴
8 drawings, each 20 x 50 cms
Ink on watercolor paper

Today, we will be opening 𝘛𝘳𝘦𝘦𝘪𝘴𝘩, featuring works by Claire Baker, Goutam Ghosh, Mahesh Baliga, Neha Choksi, Tejal Shah and Trupti Patel, curated by Prajna Desai, at Frieze No. 9 Cork Street, London. Doors will be open from 6-8 pm for today’s preview.

‘Their (trees) forms have cultivated in us an aesthetic sense, a feel for beauty that attunes us to their extraordinariness as entities in themselves. Enjoying them inclines us to cherish them, a fecund yet neglected loop. Little wonder this hypothesis risks revisiting the obvious: “The greatest wisdom is understanding that appreciation and conservation are two sides of the same coin.” That trees by what they inherently are act upon and enlighten us—magnets of material, movement, and mind.’

– Prajna Desai

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Mahesh Baliga
𝘛𝘢𝘪𝘭𝘱𝘰𝘵 𝘗𝘢𝘭𝘮
Casein on board
30 x 22 inches
2026

Coming up this Saturday, 28 May, 5 pm, we begin a series of art talks in conjunction with our ongoing exhibition, 𝘕𝘦𝘷𝘦𝘳 𝘸𝘢𝘴 𝘢 𝘴𝘩𝘢𝘥𝘦 Part 1. Joining curator Prajna for our first session, 𝗕𝗶𝗼𝗺𝗲, 𝘁𝗶𝗺𝗲 𝗮𝗻𝗱 𝗶𝗺𝗺𝗲𝗿𝘀𝗶𝗼𝗻, are artists Claire Baker and Palvi Godambe.

‘Immersion in place, its natural surrounds, and their peculiarities requires a certain irreverence towards speed in our age of hyperdistraction. Even a latent conviction that things will eventually start to glow with significance if we pay close attention. This session looks at botanically immersive or in situ practices of observing, processing, and making, and what they entail, what they obtain. With Claire Baker and Palvi Godambe, we will consider their works as well as those by Debabrata Hazra and Robin Rawat, also on view. Joining our exploration will be historical and other contemporary instances involving biomorphic shapes that hint at the life-forms of an artist’s surroundings or draw on biome itself, where works made outdoors are also altered by the environment and fauna.’

Free entry, sign up from the link in our bio.

Coming up this Saturday, 28 May, 5 pm, we begin a series of art talks in conjunction with our ongoing exhibition, Never was a shade Part 1. Joining curator Prajna for our first session, Biome, time and immersion, are artists Rahul Juneja and Bansri Chavda.

‘Immersion in place, its natural surrounds, and their peculiarities requires a certain irreverence towards speed in our age of hyperdistraction. Even a latent conviction that things will eventually start to glow with significance if we pay close attention. This session looks at botanically immersive or in situ practices of observing, processing, and making, and what they entail, what they obtain. With Claire Baker and Palvi Godambe, we will consider their works as well as those by Debabrata Hazra and Robin Rawat, also on view. Joining our exploration will be historical and other contemporary instances involving biomorphic shapes that hint at the life-forms of an artist’s surroundings or draw on biome itself, where works made outdoors are also altered by the environment and fauna.’

Free entry, sign up from the link in our bio.

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Claire Baker 
wet bark, dim shimmer, detail
Chrysoprase and chrysocolla pigment on aluminium with various binders 
8 panels 
14 ½ x 10 x ¾  inches each
2024

Debabrata Hazra 
Underneath a mango tree
Oil on canvas
36 × 60 inches
2022

Palvi Godambe
Post Harvest Residue
Eco-Printing on silk
31 × 35 inches
2023

Robin Rawat
If a tree asks you for a match box? (Composition 2)
Acrylic on Canvas
21 × 27 inches 
2026