Artists

12 - 15 November, 2026

Mahalaxmi Racecourse

Fulcrum is pleased to announce its participation at Art Mumbai 2026, Booth C77.

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Fulcrum’s booth at Art Mumbai brings together artistic practices that examine the city as a site shaped by memory, labour, desire, ecology, and belonging. Together, the works explore Mumbai through its evolving histories, infrastructures and ecologies. Across the presented artworks, the city emerges through personal and collective memory, overlooked spaces and urban infrastructure, migration and labour, domesticity and desire, as well as coastal histories and community knowledge systems. The exhibition invites us to consider the city as a space of memory and resistance, consumption and development, where individual and collective histories remain deeply entangled with the landscapes they inhabit.

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PRAJAKTA PALAV

Palav’s practice examines the city as a site of personal memory, fleeting encounters, and continual transformation. Rather than simply documenting her surroundings, Palav extends and distorts the fleeting moment, allowing memory, perception, and material to converge. Her paintings become a way of holding on to experiences that are continually altered by time, urban growth, and personal memory. Living and working in Mumbai, Palav’s practice reflects the city not as a fixed landscape, but as an ongoing process of observation, transformation, and remembrance.

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RANJIT KANDALGAONKAR

Kandalgaonkar’s practice approaches the city through its infrastructure, and transient moments. His work draws attention to the urban environment that people navigate, particularly its overlooked spaces. Rather than presenting the city through its familiar or recognisable markers, his project cityinflux focuses on the “in-between” spaces and moments that sit outside the apparent order of the city. These spaces may initially appear aberrant or incidental, yet become legitimised through the city’s inability to fully organise or define them. His work asks us to look closely at what might otherwise pass unnoticed, revealing the inner structures, contradictions, and complexity of everyday urban life.

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AMIYA RANJAN OJHA

Ojha’s practice examines the city through the experiences of migration, labour, displacement, and socio-economic inequality. Drawing on the lives and living conditions of migrant workers, his prints make visible a section of urban society that often remains overlooked. The city becomes a space of stark social contrasts—one shaped by those who build, inhabit, and sustain it, while remaining marginalised within it. His inherited relationship with wood carving further connects the city to histories of labour and making.

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CHETAN KUREKAR

Kurekar approaches the city through the experience of land transformed by ecological destruction, his practice is rooted in narratives of his village and the communities disrupted by coal mining. The changing rural landscape act as a record of social and economic upheaval; it speaks of an urban-industrial system in which land, labour, and communities are reshaped by unsustainable development. His works become bearers of anxiety and resistance, where the relationship between people and their environment is increasingly fractured.

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DIPALI GUPTA

Gupta’s practice considers the city as a space in which desire, consumption, domesticity, and the politics of the body intersect. By re-imagining historical and canonical images of sexuality, she brings questions of pleasure and female objectification into the contemporary urban experience. In works such as Devoured in a City of Dreams, the home and the city become connected spaces where private desire is shaped by larger cultural and patriarchal structures. Her city is therefore one of desire and consumption, but also a site from which the male gaze of the female body can be challenged.

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ROKESH PATIL

Rooted in Mumbai’s complex coastal ecology, Patil’s practice examines the sea as a site of memory, livelihood, and cultural identity. Drawing from his own experience as a member of the Koli community, he approaches the ocean as a repository of collective knowledge, and tradition. Patil’s work engages with the ocean as a living and evolving entity, bringing into focus the ways in which Mumbai’s rapidly changing urban landscape remains intimately entangled with its coastal histories and maritime cultures.

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Artists

PRAJAKTA PALAV