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Alkazi Foundation for the Arts

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Alkazi Foundation for the Arts

The Alkazi Foundation for the arts is a registered charitable trust based in New Delhi. It is primar For more information: www.acparchives.com

The Alkazi Foundation for the Arts is a registered charitable trust, dedicated to the preservation of the cultural history of India through extensive research on photography. Housed in the foundation is the private collection of Ebrahim Alkazi, known as the Alkazi Collection of Photography, which comprises works in the form of photographic albums, single prints, paper negatives and glass-plate neg

atives, painted photographs, and photo-postcards. The collection is particularly strong in areas such as archaeology, architectural history, the urban development of colonial cities, military studies, anthropological studies and topography.

13/04/2026

On Saturday, we had a full house at the International Center of Photography, New York, with an engaged audience and eminent scholars, artists and practitioners, who came together for the latest iteration of 𝘊𝘢𝘮𝘦𝘳𝘢 𝘚𝘰𝘶𝘵𝘩 𝘈𝘴𝘪𝘢 to discuss emerging forces and tensions within lens-based culture.

Following introductions by David Campany, along with co-chairs Debashree Mukherjee and Rahaab Allana, the day-long symposium hosted two panel discussions, in which scholars presented ideas from their past and upcoming research, meditating on the central theme of displacement through speculative temporalities, new media, the aesthetics of labour, and the politics of image-making. Each session was followed by an artist presentation that highlighted photography’s mediating, multi-sensory, and affective reflections on history and visuality.

𝘊𝘢𝘮𝘦𝘳𝘢 𝘚𝘰𝘶𝘵𝘩 𝘈𝘴𝘪𝘢: 𝘉𝘦𝘵𝘸𝘦𝘦𝘯 𝘖𝘳𝘪𝘨𝘪𝘯𝘴 𝘢𝘯𝘥 𝘌𝘭𝘴𝘦𝘸𝘩𝘦𝘳𝘦𝘴 was presented by and generously supported by , marking the bicentennial of photography. Co-organised by the Alkazi Foundation for the Arts with .

09/04/2026

𝘊𝘢𝘮𝘦𝘳𝘢 𝘚𝘰𝘶𝘵𝘩 𝘈𝘴𝘪𝘢: 𝘉𝘦𝘵𝘸𝘦𝘦𝘯 𝘖𝘳𝘪𝘨𝘪𝘯 𝘢𝘯𝘥 𝘌𝘭𝘴𝘦𝘸𝘩𝘦𝘳𝘦𝘴
10:30 AM – 7:00 PM
SATURDAY, 11 APRIL 2026
Venue: International Center of Photography, New York City

We are delighted to present the participants in the second panel at our forthcoming edition of 𝘊𝘢𝘮𝘦𝘳𝘢 𝘚𝘰𝘶𝘵𝘩 𝘈𝘴𝘪𝘢. The discussion, titled 𝘐𝘵𝘪𝘯𝘦𝘳𝘢𝘯𝘵 𝘔𝘦𝘥𝘪𝘢, with and , and moderated by (Columbia University), will delve into artistic and scholarly practices that theorise migration and labour through mobility as a relational and generative condition.

The panellists will examine how transit produces provisional commons, material infrastructures, and speculative temporalities. Saloni Mathur (UCLA) will probe the relationship between belonging and belongings in contemporary art through the physical properties carried by migrants on their journeys. Yaminay Chaudhri (Artist / Yale School of Art; Gateway Community College, New Haven) will explore Karachi’s Clifton beach as an in-between place for itinerants to find a tentative home through a set of low-resolution images from South Asia.

The panel discussion will be followed by an artist presentation by (Duke University). Through three short films, she will explore how the ‘original place’ in cinema is an unstable entity, foregrounding the temporal, historical and spatial contexts within which cinema unfolds.

𝘊𝘢𝘮𝘦𝘳𝘢 𝘚𝘰𝘶𝘵𝘩 𝘈𝘴𝘪𝘢 𝘉𝘦𝘵𝘸𝘦𝘦𝘯 𝘖𝘳𝘪𝘨𝘪𝘯𝘴 𝘢𝘯𝘥 𝘌𝘭𝘴𝘦𝘸𝘩𝘦𝘳𝘦𝘴 is co-organised with the . The event is presented by the and supported by .

07/04/2026

𝘊𝘢𝘮𝘦𝘳𝘢 𝘚𝘰𝘶𝘵𝘩 𝘈𝘴𝘪𝘢: 𝘉𝘦𝘵𝘸𝘦𝘦𝘯 𝘖𝘳𝘪𝘨𝘪𝘯 𝘢𝘯𝘥 𝘌𝘭𝘴𝘦𝘸𝘩𝘦𝘳𝘦𝘴
10:30 AM – 7:00 PM
SATURDAY, 11 APRIL 2026
Venue: International Center of Photography, New York City

At the day-long symposium 𝘊𝘢𝘮𝘦𝘳𝘢 𝘚𝘰𝘶𝘵𝘩 𝘈𝘴𝘪𝘢, the first panel discussion, 𝘋𝘪𝘴𝘱𝘭𝘢𝘤𝘦𝘮𝘦𝘯𝘵 𝘐𝘮𝘢𝘨𝘪𝘯𝘨: 𝘛𝘳𝘢𝘤𝘪𝘯𝘨 𝘜𝘯𝘴𝘦𝘦𝘯 𝘊𝘢𝘳𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘪𝘦𝘴, will bring into focus the processes, histories, and politics of image-making, against the backdrop of displacement and dissonance.

In the panel, (New York University) and Sumathi Ramaswamy (Duke University) will be in conversation with (Mount Holyoke College) as moderator.

Through images of Indian sailors taken on the ship 𝘌𝘭 𝘔𝘢𝘫𝘪𝘥𝘪 that lay in the port of Hamburg between 1870–1871, Prita Meier will explore histories of labour, constraint, and relation that emerge as the photographs move beyond their archival settings.

Sumathi Ramaswamy will focus on Gandhi through two photographs published in 1914 that charted a momentous transformation undertaken by him—from “playing” the English gentleman to an indentured Indian, for whom he led the first satyagraha in South Africa.

Following the panel discussion, Iranian visual artist and photographer, , will present photographs from her series, 𝘉𝘺 𝘢𝘯 𝘌𝘺𝘦-𝘞𝘪𝘵𝘯𝘦𝘴𝘴. She will restage the deaths of key political figures from Iran’s history between 1906 and 1979 to explore silenced histories, ‘displaced’ figures, authority of photography and fragility of images in cycles of uprising and repression.

𝘊𝘢𝘮𝘦𝘳𝘢 𝘚𝘰𝘶𝘵𝘩 𝘈𝘴𝘪𝘢 𝘉𝘦𝘵𝘸𝘦𝘦𝘯 𝘖𝘳𝘪𝘨𝘪𝘯𝘴 𝘢𝘯𝘥 𝘌𝘭𝘴𝘦𝘸𝘩𝘦𝘳𝘦𝘴 is co-organised with the . The event is presented by the and supported by .

Image: [Detail] Azadeh Akhlaghi, 𝘗𝘳𝘪𝘴𝘰𝘯 𝘊𝘦𝘭𝘭, 1938, from the series 𝘉𝘺 𝘢𝘯 𝘌𝘺𝘦-𝘞𝘪𝘵𝘯𝘦𝘴𝘴, 2009–2012, Courtesy of the artist

05/04/2026

𝘊𝘢𝘮𝘦𝘳𝘢 𝘚𝘰𝘶𝘵𝘩 𝘈𝘴𝘪𝘢: 𝘉𝘦𝘵𝘸𝘦𝘦𝘯 𝘖𝘳𝘪𝘨𝘪𝘯 𝘢𝘯𝘥 𝘌𝘭𝘴𝘦𝘸𝘩𝘦𝘳𝘦𝘴
10:30 AM – 7:00 PM
SATURDAY, 11 APRIL 2026
Venue: International Center of Photography, New York City

In light of the bicentennial of photography, the upcoming iteration of 𝘊𝘢𝘮𝘦𝘳𝘢 𝘚𝘰𝘶𝘵𝘩 𝘈𝘴𝘪𝘢 revisits the idea of origin as both spatial and temporal. This year's symposium foregrounds the life of images forced by its movement—circulation, transit, displacement, and dissonance.

The opening remarks by David Campany, and co-chairs Debashree Mukerjee and Rahaab Allana, will be followed by panel discussions and artist presentations by various practitioners, scholars and curators. Together, they approach South Asia not as a fixed geography, but as a field marked by itineraries of migration, exchange and encounter. They reflect on identity, history, and change amid political realities across the region.

Bridging historical archives and speculative futures, the artists, scholars, and curators participating in this edition attend to mobility in its uneven form, pointing toward futures that are not singular but continually unfolding in several elsewheres.

Co-organised with the , the event is presented by the and supported by .

Image: [Detail] Ali Arkady, ‘The First Shore,’ Stone, carton, monolithographic print, 2025
Courtesy of the artist

03/04/2026

𝘊𝘢𝘮𝘦𝘳𝘢 𝘚𝘰𝘶𝘵𝘩 𝘈𝘴𝘪𝘢: 𝘉𝘦𝘵𝘸𝘦𝘦𝘯 𝘖𝘳𝘪𝘨𝘪𝘯 𝘢𝘯𝘥 𝘌𝘭𝘴𝘦𝘸𝘩𝘦𝘳𝘦𝘴
10:30 AM – 7:00 PM
SATURDAY, 11 APRIL 2026
Venue: International Center of Photography, New York City

As we mark the bicentennial of photography this year, the Alkazi Foundation for the Arts is delighted to share the schedule of the next iteration of 𝘊𝘢𝘮𝘦𝘳𝘢 𝘚𝘰𝘶𝘵𝘩 𝘈𝘴𝘪𝘢: 𝘉𝘦𝘵𝘸𝘦𝘦𝘯 𝘖𝘳𝘪𝘨𝘪𝘯 𝘢𝘯𝘥 𝘌𝘭𝘴𝘦𝘸𝘩𝘦𝘳𝘦𝘴.

The day-long symposium comprises panel discussions and artist presentations, where noted scholars and curators from interdisciplinary domains, including media and visual studies, arts and aesthetics, and history and literature, discuss the changing currents in South-Asian lens-based practices.

Co-organised with the , the event is presented by the and supported by .

𝘊𝘢𝘮𝘦𝘳𝘢 𝘚𝘰𝘶𝘵𝘩 𝘈𝘴𝘪𝘢 revisits questions around photography’s origins by treating it as both spatial and temporal — emphasising circulation, displacement and transit, rather than invention. With the city of New York as reference, the sessions will address how uncertain mobilities shape history, identities and culture, of which photographs become material and transitory truths.

Image: [Detail] Ali Arkady, ‘The marches (2),’ Canvas, monolithographic print, 2019
Courtesy of the artist

26/03/2026

𝘋𝘐𝘚𝘖𝘉𝘌𝘋𝘐𝘌𝘕𝘛 𝘚𝘜𝘉𝘑𝘌𝘊𝘛𝘚 | CURATORIAL WALKTHROUGH
with Murali Ranganathan
Saturday, 28 March
11.30 am onwards
Mumbai Gallery, CSMVS

After six months of engagement with visitors and scholars from far and wide, the and the Alkazi Foundation for the Arts, in collaboration with , are delighted to invite you to a curatorial walkthrough with historian and translator Murali Ranganathan — the final public programme associated with the exhibition, 𝘋𝘪𝘴𝘰𝘣𝘦𝘥𝘪𝘦𝘯𝘵 𝘚𝘶𝘣𝘫𝘦𝘤𝘵𝘴: 𝘉𝘰𝘮𝘣𝘢𝘺 1930–1931.

Ranganathan has worked extensively on the history of Mumbai, locating rare personal histories and archives, and translating them from Hindi, Gujarati, Marathi and Urdu. He is also a contributor to the publication, 𝘗𝘩𝘰𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘪𝘯𝘨 𝘊𝘪𝘷𝘪𝘭 𝘋𝘪𝘴𝘰𝘣𝘦𝘥𝘪𝘦𝘯𝘤𝘦: 𝘉𝘰𝘮𝘣𝘢𝘺 1930–1931, edited by curators and Sumathi Ramaswamy, which accompanies the exhibition.

This Saturday, he will lead visitors through a detailed exploration of the transformation of erstwhile Bombay’s public spaces into sites of large-scale protest during the Civil Disobedience Movement of 1930–1931, and women’s previously unseen participation in defiantly resisting colonial powers.

Please note: This is a ticketed event priced at Rs 200, with limited seats. Registration is open to all on a first-come, first-served basis. Head to the link in bio to register!

[CSMVS, Walkthrough, Bombay, Civil Disobedience, exhibition, speakers, visual arts, photography, Congress Party, Indian Freedom Struggle, culture, expression, creation, local history]
Mumbai Weekend

25/03/2026

EXTENDED OUTREACH

We are delighted to share details of a lecture titled ‘Encryptions’ by Rahaab Allana (Curator, Alkazi Foundation), presented as part of 𝘈𝘣𝘴𝘦𝘯𝘵 𝘈𝘳𝘤𝘩𝘪𝘷𝘦𝘴: 𝘗𝘩𝘰𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘺 & 𝘔𝘦𝘵𝘩𝘰𝘥𝘰𝘭𝘰𝘨𝘪𝘦𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘜𝘯𝘴𝘦𝘦𝘯, a three-day symposium hosted by and .matter in Goa from 27–29 March 2026 at .

Engaging with photography’s shifting truths, the session reflects on archives, erasure, and the politics of visibility—unfolding how images mediate silence, memory, and power in times of uncertainty.

Swipe through to view the full schedule.

Register via link in bio!

Visualculture MemoryAndHistory

[Arthshila Goa, archive, panel discussion, photobook exhibition, film screenings, roundtable, lectures, publication launch]

24/03/2026

RECAP | 𝘋𝘪𝘴𝘰𝘣𝘦𝘥𝘪𝘦𝘯𝘵 𝘚𝘶𝘣𝘫𝘦𝘤𝘵𝘴: 𝘉𝘰𝘮𝘣𝘢𝘺 1930–31 | Last week to catch the show!

𝘋𝘪𝘴𝘰𝘣𝘦𝘥𝘪𝘦𝘯𝘵 𝘚𝘶𝘣𝘫𝘦𝘤𝘵𝘴: 𝘉𝘰𝘮𝘣𝘢𝘺 1930–31, presented by the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya in collaboration with the Alkazi Foundation for the Arts, is nearing the end of its successful run at closing on March 31, 2026. Curated by Avrati Bhatnagar and Sumathi Ramaswamy, the exhibition draws from a rare photographic album titled 𝘊𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘰𝘯𝘴 𝘰𝘧 𝘗𝘩𝘰𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘴 𝘰𝘧 𝘖𝘭𝘥 𝘊𝘰𝘯𝘨𝘳𝘦𝘴𝘴 𝘗𝘢𝘳𝘵𝘺 𝘒.𝘓. 𝘕𝘶𝘳𝘴𝘦𝘺, offering a compelling view of the Civil Disobedience Movement in colonial Bombay.

The exhibition foregrounds the spirit of resistance, collective action, and the everyday realities of protest, particularly highlighting the participation of women, including the 𝘥𝘦𝘴𝘩 𝘴𝘦𝘷𝘪𝘬𝘢𝘴, alongside the harsh repression faced by nonviolent demonstrators.

Accompanying the show is the publication 𝘗𝘩𝘰𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘪𝘯𝘨 𝘊𝘪𝘷𝘪𝘭 𝘋𝘪𝘴𝘰𝘣𝘦𝘥𝘪𝘦𝘯𝘤𝘦: 𝘉𝘰𝘮𝘣𝘢𝘺 1930–1931, edited by the curators and published by the Alkazi Collection of Photography in association with Featuring essays by , Sumathi Ramaswamy, Abigail McGowan, , Dinyar Patel, K**a Maclean, Murali Ranganathan, and Preeti Chopra, the volume examines how photography both documented and shaped the political and social currents of the time.

The book is available for purchase via the link in our bio.

Looking back at the past six months:
Images 1–4: Glimpses of the exhibition with visitors
Image 5: Launch of the accompanying publication
Images 6–8: Walkthroughs conducted by Dinyar Patel, Murali Ranganathan and Debashree Mukherjee, contributing authors in the volume
Image 9: A young Pandurang Sadashiv Khankhoje
Image 10–11: Visitors at the Mumbai Gallery
Image 12: A spread from the K.L. Nursey album

20/03/2026

𝘛𝘏𝘌 𝘗𝘜𝘉𝘓𝘐𝘊 𝘓𝘐𝘍𝘌 𝘖𝘍 𝘐𝘔𝘈𝘎𝘌𝘚 | 𝗣𝗮𝗻𝗲𝗹 𝗛𝗶𝗴𝗵𝗹𝗶𝗴𝗵𝘁𝘀

We are delighted to share some glimpses of the talk, 𝘛𝘩𝘦 𝘗𝘶𝘣𝘭𝘪𝘤 𝘓𝘪𝘧𝘦 𝘰𝘧 𝘐𝘮𝘢𝘨𝘦𝘴, recently held at the Nalanda Learning Centre, CSMVS. Moderated by Rahaab Allana, this discussion on the afterlife of images, in conjunction with the ongoing exhibition 𝘋𝘪𝘴𝘰𝘣𝘦𝘥𝘪𝘦𝘯𝘵 𝘚𝘶𝘣𝘫𝘦𝘤𝘵𝘴: 𝘉𝘰𝘮𝘣𝘢𝘺 1930–1931 at ’s Mumbai Gallery, brought together , Sudhanva Deshpande, and , offering perspectives about how images continue to generate new narratives and disrupt the everyday, while opening up possibilities for future readings by the public.

While Gadihoke reflected on Homai Vyarawalla’s evocative documentation of the people of Bombay and its evolution as a city in the 1930s–40s, Deshpande addressed the dynamics of performance, protest, and the politics of public space, and Calia discussed the diverse narratives and meanings that archives generate beyond their evidentiary attributes. The conversation traced how images are not merely records but active participants in shaping and retelling history. The speakers also focused on the exhibition, highlighting how images from the album capture the public’s participation in the Civil Disobedience Movement between 1930 and 1931.

[CSMVS, panel discussion, Bombay, Civil Disobedience, exhibition, speakers, visual arts, photography, Congress Party, Indian Freedom Struggle, culture, expression, creation]

Bombay ArtAndHistory

19/03/2026

Archives ensure that fragments of history preserved by collectors are not lost, but carefully and critically remembered and reinterpreted.

A fascinating read published in 𝘔𝘪𝘯𝘵 by Avantika Bhuyan and Abhilasha Ojha explores how the past is revealed through archives. It highlights how archives are no longer limited to state institutions but are increasingly being preserved by families and collectors who recognise the historical value of objects such as letters, photographs, garments, postcards, and family heirlooms.

Across India, private archives like the Godrej Archives in Vikhroli, Mumbai, Ashoka University’s Archives of Contemporary India, and Asia Art Archive of India have made great strides in preserving India’s socio-political histories: be it through the former Prime Minister Manmohan Singh’s papers or Godrej’s ballot boxes used in India’s first election.

Curator Rahaab Allana of the Alkazi Foundation for the Arts was mentioned among key Indian archivists, including Deepthi Sasidharan (Eka Cultural Resources and Research), Sneha Ragavan (Asia Art Archive of India), and Devika Daulat Singh (PHOTOINK).

Speaking on the urgency of archiving in the present moment, according to Allana, “People lose their lives trying to protect works of art and archival material. How do you connect to history if you don’t have access to artefacts and material from a particular time? Archives can bring to fore hitherto invisibilised histories and movements,” transforming personal memories into public knowledge. It reminds us that history is not only written in official documents but also preserved in personal and family archives that quietly travel across generations.

Read the entire piece through the link in the bio!

Image 1: [Detail] Sukanya Ghosh, 𝘓𝘦𝘵 𝘵𝘩𝘦 𝘉𝘳𝘢𝘯𝘤𝘩𝘦𝘴 𝘐𝘯, 2024, UV Print and reverse painting on acrylic

Image 2: Sukanya Ghosh, 𝘈𝘴 𝘛𝘩𝘦 𝘊𝘳𝘰𝘸 𝘍𝘭𝘪𝘦𝘴, 2024, Rice paper, charcoal, pencil and marker

[Mint, Alkazi Foundation, AFA, Article, Archives, Photographs, History, Letters, Postcards, People]

17/03/2026

In his detailed essay for the The Book Review, Sohail Akbar, Associate Professor, Still Photography at Jamia Millia Islamia, engages with a variety of themes that emerge out of Alkazi Collection of Photography and ’s scholarly publication, 𝘗𝘩𝘰𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘪𝘯𝘨 𝘊𝘪𝘷𝘪𝘭 𝘋𝘪𝘴𝘰𝘣𝘦𝘥𝘪𝘦𝘯𝘤𝘦: 𝘉𝘰𝘮𝘣𝘢𝘺 1930–1931.

Set in the time of the Civil Disobedience Movement that began with the historic Dandi March, the book features analytical essays on the photographs from the lost and recovered album, ‘Collection of Photographs of the Old Congress Party - K.L. Nursey Album’, predominantly featuring the densely populated and working class Bombay city.

Akbar points out that while the scholars assume KL Nursey to be a man, it could also be a woman who collected these images as a sympathiser of the movement. His assumption relies on the many images that centre women protestors, who stand defiantly in front of the British officers, picket shops, and produce contraband salt. According to Akbar, “In the nine chapters written by distinguished scholars, we are drawn into a canvas of 1930s Bombay which seems to be living on its streets.” A mysterious cameraperson remains the most diligent record-keeper of the spectacle unfolding before their eyes. Photographs remain, an unmistakable evidence of a nation’s decisive moments.

The exhibition 𝘋𝘪𝘴𝘰𝘣𝘦𝘥𝘪𝘦𝘯𝘵 𝘚𝘶𝘣𝘫𝘦𝘤𝘵𝘴: 𝘉𝘰𝘮𝘣𝘢𝘺 1930–1931, that accompanies the publication, is curated by and Sumathi Ramaswamy. It is currently in its final weeks of showing at the . Featuring more than a hundred images from the album, the exhibition will draw to a close on 31 March 2026.

The book is now available to purchase at Mapin Publishing’s website. The link to the book, and the article, is in our bio.

[CSMVS, panel discussion, Bombay, Civil Disobedience, exhibition, speakers, visual arts, photography, Congress Party, Indian Freedom Struggle, culture, expression, creation]

15/03/2026

𝘛𝘏𝘌 𝘗𝘜𝘉𝘓𝘐𝘊 𝘓𝘐𝘍𝘌 𝘖𝘍 𝘐𝘔𝘈𝘎𝘌𝘚 | CSMVS NALANDA LEARNING CENTRE
Wednesday 18 March at 6 PM

At our upcoming discussion, visual artist will reflect on 𝘛𝘩𝘦 𝘚𝘦𝘤𝘰𝘯𝘥 𝘓𝘢𝘸, an exhibition he presented last year at , to consider how archival materials can generate new narratives and meanings beyond their evidentiary function. He will also focus on the role of artistic and poetic gestures in disrupting the regimentation of the everyday and in imagining possible futures.

The talk is being hosted in tandem with the ongoing exhibition, 𝘋𝘪𝘴𝘰𝘣𝘦𝘥𝘪𝘦𝘯𝘵 𝘚𝘶𝘣𝘫𝘦𝘤𝘵𝘴: 𝘉𝘰𝘮𝘣𝘢𝘺 1930-31, curated by Avrati Bhatnagar and Sumathi Ramaswamy, also at the .

𝘛𝘩𝘦 𝘗𝘶𝘣𝘭𝘪𝘤 𝘓𝘪𝘧𝘦 𝘰𝘧 𝘐𝘮𝘢𝘨𝘦𝘴 is organised as an outreach initiative for the exhibition on view until 31 March 2026.

The discussion, moderated by Rahaab Allana (Alkazi Foundation), will also feature Sudhanva Deshpande (Jana Natya Manch) and Prof. Sabeena Gadihoke (AJK MCRC, Jamia Millia Islamia).

We look forward to seeing you there!

Image: Unknown author, Photograph from the 𝘔𝘢𝘳𝘢𝘵𝘩𝘪 𝘉𝘭𝘪𝘵𝘻, found in Chor Bazaar, Mumbai, 2015

[CSMVS, panel discussion, Bombay, Civil Disobedience, exhibition, speakers, visual arts, photography, Congress Party, Indian Freedom Struggle, culture, expression, creation]

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M 141 G. K 2
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