Amber Arifreen, Leave us be, 2023, Oils and transfers on canvas, 54 x 44 in (137.2 x 111.8 cm)
ARIAM002
Amber Arifreen, I hold the power in my hands, 2023, Oils and transfers on canvas, 48 x 38 in (121.9 x 96.5 cm)
ARIAM001
Sfiya, The Ritual, 2026, Acrylic on canvas, 36" diameter
SFIYA002
Sfiya, The Beast, 2024, Acrylic on canvas, 40 x 30 in (101.6 x 76.2 cm)
SFIYA001
Preetika Rajgariah, Ratt ki Raani 1, 2024, Yoga mats, vintage sari, acrylic paint, 24 x 15 in (61 x 38.1 cm)
RAJPR003
Preetika Rajgariah, Maar Dala, 2024, Yoga mats, vintage sari, acrylic paint, 69 x 74 in (175.3 x 188 cm)
RAJPR001
Preetika Rajgariah, Ratt ki Raani 2, 2024, Yoga mats, vintage sari, acrylic paint, 24 x 15 in (61 x 38.1 cm)
RAJPR002
Ruthi Helbitz Cohen, Symmetrical Touch, 2026, Mixed media on paper, 27 x 11 ½ in (68.6 x 29.2 cm)
COHRU002
Ruthi Helbitz Cohen, Jesse Owens, 2024, Mixed media on painted paper cutouts over photograph printed on banner, 74 ⅘ x 156 ⅔ in (190 x 398 cm)
COHRU001
Keerat Kaur, Breath of Life, 2019, Hand-built cone 6 stoneware clay with translucent teal glazing, 9 x 4 ½ in (22.9 x 11..4 cm)
KEEKA001
Keerat Kaur, Beneath the Skin, 2025, Hand-built cone 6 stoneware clay with hand-painted underglazing/glazing, 8 ½ x 4 ½ in (21.6 x 11.4 cm)
KEEKA002
Swapnaa Tamhane, Corset, 2019, Pencil on paper, 11 ⅗ x 16 ½ in (29.5 x 42 cm)
TAMSW002
Swapnaa Tamhane, Covered (Av. du Parc), 2019, Pencil on paper, 11 ⅗ x 16 ½ in (29.5 x 42 cm)
TAMSW003
Swapnaa Tamhane, Triple X (Av. du Parc), 2019, Pencil on paper, 11 ⅗ x 16 ½ in (29.5 x 42 cm)
TAMSW004
Swapnaa Tamhane, Stuck in a Window (Av. du Parc), 2019, Pencil on paper, 11 ⅗ x 16 ½ in (29.5 x 42 cm)
TAMSW005
Swapnaa Tamhane, Containers, 2019, Pencil on paper, 11 ⅗ x 16 ½ in (29.5 x 42 cm)
TAMSW006
Swapnaa Tamhane, Scandale, 2019, Pencil on paper, 11 ⅗ x 16 ½ in (29.5 x 42 cm)
TAMSW007
Swapnaa Tamhane, Held Together, 2016/2026, Pencil on archival board, 10 ½ x 9 in (26.7 x 22.9 cm)
TAMSW001
Swapnaa Tamhane, Fig. 21 Early antiblackout device, 2026, Pencil on archival board, 10 ½ x 9 in (26.7 x 22.9 cm)
TAMSW009
Swapnaa Tamhane, Landscape & Nude (Salzburg), 2018, Photograph on Hahnmuhle matte fine art smooth paper, 7 ½ x 10 in (19.1 x 25.4 cm)
TAMSW008
Arpita Singh, A Woman with Another Woman, 1995, Oil on canvas, 59 ¾ x 29 ½ in (151.8 x 74.9 cm)
SINAR003
Arpita Singh, Untitled (Nude Female in Yellow Background), 1997, Watercolor on paper, 11 x 9 in (27.9 x 22.9 cm)
SINAR002
Mequitta Ahuja, Hocus Pocus, 2015, Oil pastel on paper, 88 x 52 in (223.5 x 132.1 cm)
AHUME087
Anindita Dutta, Garden of Ripped Shoes-02, 2025, Used purse, used shoes, animal hide, animala horn, used leather coat, 83 x 24 x 12 in (210.8 x 61 x 30.5 cm)
DUTAN011
Anindita Dutta, Garden of Ripped Shoes-01, 2025, Used purse, used shoes, animal hide, animal horn, used leather coat, 83 x 24 x 12 in (210.8 x 61 x 30.5 cm)
DUTAN010
Abir Karmakar, In The Old Fashioned Way 5, 2007, Oil on canvas, 72 x 107 in (182.9 x 271.8 cm)
KARAB000-451
Bernardo Siciliano, Selfie, 2018, Oil on canvas, 60 x 48 in (152.4 x 121.9 cm)
SICBE023
Bernardo Siciliano, Overlap #3, 2017, Oil on canvas, 30 x 40 in (76.2 x 101.6 cm)
SICBE019
Victor Ekpuk, Tête à Tête 1, 2022, Acrylic on canvas, 60 x 48 in (152.4 x 121.9 cm)
EKPVI032
Viren Tanwar, I am alone, n/d, 45 x 48 in (114.3 x 121.9 cm)
TANVI007
Alison Saar, Cat's Cradle, 2015, Woodcut, 23 ¾ x 13 ½ in (60.3 x 34.3 cm), 11/30
SAAAL004
Paresh Maity, Dream 5, 2004, Watercolor on board, 32 x 12 in (81.3 x 30.5 cm)
MAIPA173
Hasnat Mehmood, Untitled 3, 2025, Graphite, pen and ink on Arches paper, 14 ½ x 11 in (36.8 x 27.9 cm)
MEHHA002
Hasnat Mehmood, Untitled (5), 2025, Graphite, pen and ink on Arches paper, 14 ½ x 11 in (36.8 x 27.9 cm)
MEHHA004
Sajal Sarkar, Morning Stretching, 2006, Oil on canvas, 70 x 56 in (177.8 x 142.2 cm)
SARSA006
Sajal Sarkar, Resting, 2003, Charcoal on paper, 24 x 30 in (61 x 76.2 cm)
SARSA011
Nalini Malani, Untitled (2 Figures Embrace), 1978, Ink on paper, 11 x 15 in (27.9 x 38.1 cm)
MALNA001
Nalini Malani, Women with pony tail, 1987, Ink on paper, 15 x 11 in (38.1 x 27.9 cm)
MALNA033
Nalini Malani, Untitled (Women Hand and Cheek, Man on Breast), 1978, Ink on paper, 11 x 14 ¼ in
(27.9 x 36.2 cm)
MALNA012
Ajay Desai, Man with Monkey, n/d, Oil on canvas, 37 x 29 in (94 x 73.7 cm)
DESAJ001
Jogen Chowdhury, Untitled, 2008, Dry pastel and ink on paper, 22 x 30 in (55.9 x 76.2 cm)
CHOJO016
Jogen Chowdhury, Untitled (Nipple with One Hand), 1970, Pastel on paper, 14 ¾ x 14 ¾ in (37.5 x 37.5 cm)
CHOJO006
Anupam Sud, Homage to Mankind, 1982, Etching, 20 x 26 in (50.8 x 66 cm)
SUDAN004
Neeraj Goswami, Play I, 2006, Oil on canvas, 48 x 48 in (121.9 x 121.9 cm)
GOSNE002
Neeraj Goswami, Gossip, 2007, Charcoal and pencil on paper, 8 ½ x 12 in (21.6 x 30.5 cm)
GOSNE027
Neeraj Goswami, Drawing XII, n/d, Pen and Ink on paper, 9 x 12 in (22.29 x 30.5 cm)
GOSNE039
B. Prabha, Untitled (Woman with Bird), 1961, Oil on canvas, 36 x 33 in (91.4 x 83.8 cm)
PRAHB020
Syed Sadequain, Lovers, 1984, Oil on canvas, 39 x 28 in (99 x 71.1 cm)
SADEQ061
George Keyt, Lovers II, 1990, Acrylic on canvas laid on board, 39 ½ x 23 ½ in (100.3 x 59.7 cm)
KEYGE003
George Keyt, Lovers I, 1990, Acrylic on canvas, 28 x 27 ⅛ in (71.1 x 68.9 cm)
KEYGE002
Anjolie Ela Menon, Eden Revisited, 2006, Oil on Masonite board, 36 x 47 in (91.4 x 119.4 cm)
MENAN121
Anjolie Ela Menon, Untitled, 1984, Oil on Masonite board, 35 ¼ x 19 ⅗ in (89.5 x 49.9 cm)
MENAN123
Maqbool Fida Husain, Untitled (Somaskanda), 1978, Acrylic on burlap, 32 x 36 in (81.3 x 91.4 cm)
HUSMF460
Achuthan Kudallur, Untitled, c. 1975, Oil on canvas, 35 ⅘ x 34 ½ in (91 x 87.5 cm)
KUDAC029
Krishna Shamrao Kulkarni, Untitled, 1976, Acrylic on canvas, 36 x 44 in (91.4 x 111.8 cm)
KULKS004
Francis Newton Souza, Nude, 1986, Acrylic and pencil on canvas, 47 ⅞ x 30 in (121.6 x 76.2 cm)
SOUFN056
Francis Newton Souza, Untitled, 1985, Chemical alterations on magazine paper pasted on board, 10 ¾ x 8 in (27.3 x 20.3 cm)
SOUFN095
Lancelot Ribeiro, Untitled (Erotic Piece), 1968, Polyvinyl acetate on canvas, 53 ⅛ x 33 in (135 x 83.7 cm)
RIBLA010
Francis Newton Souza, Erotic Drawing 4, 1971, Pen & ink on paper, 14 x 17 in (35.6 x 43.2 cm)
SOUFN042
Francis Newton Souza, Untitled (3/4 Female Nude), 1959, Ink on paper, 13 x 8 in (33 x 20.3 cm)
SOUFN055
Ghulam Rasool Santosh, Untitled (Bent 3 fig on top), 1983, Ink on Paper, 28 x 21 ⅞ in (71.1 x 55.6 cm)
SANGR009
Akbar Padamsee, Nude Study 6, n/d, Black and white photograph on paper, 22 ½ x 31 ¾ in (57.2 x 80.7 cm)
AF2-083F
Chintamoni Kar, Untitled, 1966, Terracotta, 9 ¼ x 2 ½ x 1 ½ in (23.5 x 6.4 x 3.8 cm)
CARCH001
Two Figures of Venugopala and Radha, Odisha, 17th-18th century, Brass, Venugopala: 17 ¼ x 7 x 6 ½ in (43.8 x 17.8 x 16.5 cm), Radha: 16 ½ x 12 ½ x 5 ¾ in (41.9 x 31.75 x 14.6 cm)
ANTIQ003
Yamantaka Vajrabhairava (Father-Mother), Tibet, c. 15th century, Gilt bronze with pigments and inlaid stones, 9 x 5 x 2 ⅔ in (22.9 x 12.7 x 6.7 cm)
ANTIQ004
Radha, Odissa, 16th century, Brass with remnants of polychrome pigments, 10 x 4 x 4 in (25.4 x 10.2 x 10.2 cm)
ANTIQ005
A Nayika Lifting her Veil, possibly Kangra or Guler, Pahari, first half of the 19th century, Opaque watercolor heightened with gold on paper, Image: 5 ¼ x 2 ⅞ in (13.3 x 7.3 cm), Folio: 8 ¾ x 5 ¾ in (22.2 x 14.6 cm)
MINIA059
Folio from an Erotic (Koka-Śāstra) Series: A European Couple on a Terrace, Rajasthan, 19th century, Opaque watercolor heightened with gold on paper, Image: 9 ⅛ x 5 ½ in (23.2 x 14 cm) Folio: 11 ¾ x 8 ⅛ in (29.8 x 20.6 cm)
MINIA058
A Nayika Preparing to Meet her Beloved,, Kangra, Pahari, mid-19th century, Opaque watercolor heightened with gold on paper, Image: 7 ⅔ x 5 in (19.5 x 12.7 cm), Folio: 10 ½ x 7 in (26.7 x 17.8 cm)
MINIA057
Kali Dances on Two Lovers, Kangra, Pahari, c. 1740, Ink and opaque watercolor heightened by gold on paper, Image: 8 ½ x 5 ¾ in (21.5 x 14.6 cm), Folio: 11 x 8 ⅛ in (28 x 20.6 cm)
MINIA056
Aicon Art is pleased to present Summer Nudes, a salon exhibition exploring different facets of the nude figure in South Asian and diasporic art, spanning from traditional miniatures through the present day. With artworks by over thirty artists on display, Summer Nudes is organized into six overlapping categories: classical, abstract, erotic, body politics, self-portrait, and trauma.
The nude has deep roots in Indian sculpture and sacred architecture. A pair of 18th-century bronze sculptures from Odisha depicting Radha and Krishna are the earliest examples in this exhibition. The intricacy of the supreme divine couple marks a stark contrast to the abstract, curvilinear terracotta figure by modernist Chintamoni Kar. An even further departure from classical Indian sculpture rhetoric is the hand-built clay works by the Canadian artist Keerat Kaur. Kaur’s sculptures reveal the human figure through natural forms, such as a speckled face hidden under the skin of a dragon fruit. The nude sculpture is also interpreted into painting by Victor Ekpuk, who reclaims museum-owned west African ancestral objects through his canvas.
Paintings in Summer Nudes date back to the 17th and 18th centuries with Mughal and Rajasthani miniatures. Miniatures departed from the broad visual theology of the sacred reverent nudes, moving the body into the private sphere. These paintings offered sensuous bodies in translucent garments—bathing, reclining, and gazing in a mirror. Erotic works offered literal depictions of Asanas from the Kama Sutra as well as more symbolic depictions of longing and devotional love. Private albums and erotic manuals made the nude private, collectible, and connoisseurial.
During the British Raj (1858-1947), colonial Victorian morality and new obscenity laws changed how the Indian body could be seen, collected, and censored. Concurrently, Indian nationalists adopted respectability politics that encouraged more modest, idealized images of the body, especially in public art. The nude reemerged in Indian modern art of the 20th century, though under new terms. Artists like Amrita Sher-Gil were trained in academic institutions preoccupied with life drawing and anatomical study, and encountered the nude as a Western art-school genre.
After Independence, the nude became an important subject among artists associated with the Progressives who used the body as a site to explore sexuality, spirituality, alienation, desire and violence. Two Progressives known for their provocative, often lascivious, depictions of the female nude are Avinash Chandra and F. N. Souza. In Chandra’s 1969 Nymphs, women are stacked haphazardly on a technicolor plane, and in Souza’s 1985 Untitled chemical alteration, a ghoulish male figure wraps his arm around the shoulder of a female with large breasts and bulging genitals. Works such as these challenge the semantic distinction between ‘nude’ and ‘naked’ in art.
The self-portrait has long been a way for artists to claim authorship over how they are seen. The nude self-portrait raises the stakes. For South Asian and diasporic artists, this act can be especially powerful, challenging colonial histories in which brown bodies have been exoticized, disciplined, or rendered through the gaze of others. Using an approach common to her practice at the time, Mequitta Ahuja made a surface of collaged papers and used her own likeness to create Hocus Pocus, 2015, a drawing inspired by Artemisia Gentileschi’s Self-Portrait as the Allegory of Painting. Shivy Galtere’s new painting The Flight of Motherhood shows the artist from three angles. Somewhere between flight and falling, these intertwined bodies reflect the constant negotiation of self that is required to fulfill multiple roles simultaneously. Abir Karmakar’s massive yet intimate, often voyeuristic nude self-portraits complicate the viewer’s position, turning domestic interiors into charged spaces of self-examination, desire, and ambiguity.
Some artists have adopted the nude as a means of processing trauma. By centering the body, these works powerfully communicate what the human body can endure and survive. In Jayasri Burman’s 2026 painting, Dopdi (the subaltern protagonist of Mahasweta Devi’s 1978 short story) refuses to be shamed following a brutal sexual assault. Instead, she presents her violated and bleeding body as a site of rebellion. Ruthi Helbitz Cohen, one of the few non-South Asian artists in the exhibition, similarly uses the nude to transform an image of historical power into one of repair. In her 2024 work Jesse Owens, Cohen intervenes on a banner printed with 1936 Olympic photographs, overlaying it with nude female bodies who tend to one another and give bloom to new life. In doing so, she offers a moment of catharsis, imagining the body not only as a witness to violence, but as a site where the Olympic Village’s history of both peace and war might be reworked through care and renewal.
Whether a classical figure study by Sajal Sarkar, a surreal drawing by Laxma Goud, a lover’s embrace by Sadequain, or sexually empowered women on yoga mats by Preetika Rajgariah, Summer Nudes offers a visual smorgasbord ranging from explicit to tender. It is a celebration of the myriad ways artists have and continue to explore the human figure, stripped down to its barest state.
Summer Nudes is the final exhibition of Aicon Art at our 35 Great Jones Street location. After nearly 20 years in this space, our gallery is relocating to Chelsea. Please join us in October 2026 to usher in this exciting new chapter.
Artists: Mequitta Ahuja, Amber Arifeen*, Jayasri Burman, Avinash Chandra (1931-1991), Jogen Chowdhury, Ajay Desai, Anindita Dutta, Victor Ekpuk, Shivy Galtere*, Neeraj Goswami, Laxma Goud, Ruthi Helbitz Cohen*, M. F. Husain (1915-2011), Chintamoni Kar (1915-2005), Abir Karmakar, Keerat Kaur*, George Keyt (1901-1993), Achuthan Kudallur (1945-2022), K. S. Kulkarni (1916-1994), Paresh Maity, Nalini Malani, Hasnat Mehmood, Anjolie Ela Menon, Akbar Padamsee (1928-2020), B. Prabha (1933-2001), Preetika Rajgariah*, Lancelot Ribeiro (1933-2010), Alison Saar, Sadequain (1930-1987), G. R. Santosh (1929-1997), Sajal Sarkar, Bernardo Siciliano, Arpita Singh, F. N. Souza (1924-2002), Swapnaa Tamhane*, Viren Tanwar, Sfiya*
* Artists showing at Aicon Art for the first time.
For sales inquiries, contact hannah@aicongallery.com.
For more information about our Chelsea relocation, contact pam@aicongallery.com.
