HOW DO ARTISTS (AND, OFTEN, CRITICS AND CURATORS) come together to explore the world and respond to its uneven aspects with a shared enthusiasm? How do art collectives gather steam even as they exert tactical pressure on the art practices of their members? How do they confirm startling community models that are loose and tight at the same time? How do they come apart, often at the seams? And how do some of them survive, in spite of the temptations? These are some of the questions we ask in the course of this issue. We take a look at how the viscous glue of ideology manages to hold groups together and guides their critical appreciation of a world that is constantly changing shape; we also see how interventions are jointly mounted with a desire to investigate ideas and images and, often, to support a common cause or frame a critique of a common enemy.

While Shukla Sawant re-introduces us to the varied contexts within which the Progressive Artists’ Group and the Silpi Chakra produced art, Partha Roy discusses the reasons for the failure of the Calcutta Group. Sandhya Bordewekar examines the rise and fall of Group 1890 in the 1960s as Geeta Doctor traces the evolution of the Cholamandal Artists’ Village and Marta Jakimowicz gives a historical background to the bouquet of collectives in Bangalore. Sandhini Poddar throws light on the layered works presented by the Desire Machine Collective as Kaelen Wilson-Goldie looks at the stations and stops of CAMP. Zehra Jumabhoy examines The Otolith Group’s subversive fictions. Akshaya Tankha responds critically to the Raqs Media Collective’s latest show as Quddus Mirza holds forth on why art collectives in Pakistan have not had a good day in the sun. In the Interview, Pooja Sood speaks to Meera Menezes about the changing profile of KHOJ.

As always, we carry our regular features, reports and reviews.

Do let me know what you think of this issue and thanks for responding positively to Book Reviews.

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Warm regards,
Abhay Sardesai