Art has long been recognised as a powerful medium for social commentary, mirroring society's triumphs, struggles, and aspirations. From ancient cave paintings to contemporary installations, artists have used their creative voices to provoke thought, challenge norms, and inspire change. By capturing the essence of their times, artists provide a visual and emotional record of human experiences, often highlighting injustices and envisioning a better future. In the context of India, a country with a rich history of artistic expression and social activism, the role of art as a medium for social commentary is particularly significant. This tradition has evolved from the intricate carvings and murals of ancient temples to the dynamic and diverse practices seen in modern and contemporary art forms.

Throughout history, artists in India have drawn inspiration from the socio-political landscape, channelling their observations and critiques into their work. During colonial rule, artists like Raja Ravi Varma depicted the complex interactions between Indian traditions and Western influences, subtly critiquing the colonial presence. In the struggle for independence, the Bengal School of Art, led by figures such as Abanindranath Tagore, sought to revive Indian cultural identity and resist colonial domination through indigenous artistic styles. Post-independence, artists like M.F. Husain and Tyeb Mehta addressed the social upheavals and cultural transitions of a newly independent nation. More recently, contemporary artists like Sheela Gowda and Subodh Gupta have explored themes of urbanisation, economic disparity, and globalisation. From caste discrimination to gender inequality, from environmental degradation to political corruption, Indian artists have addressed many societal issues through their art, sparking dialogue and fostering empathy. Their works serve as catalysts for conversations, challenging viewers to confront uncomfortable truths and reconsider preconceived notions.

In 2005, a century after Abanindranath Tagore painted Bharat Mata in his new wash style in 1905, M.F. Husain created a provocative modernist nude version. The painting features the sun rising over the jagged Himalayas, with a svelte woman's torso and limbs whimsically outlining India's map. The spokes of the national flag's wheel mark the heartland. Important cities and places—Cochin, Chennai, Bangalore, Goa, Hyderabad, Kolkata, Mumbai, Jaipur, Varanasi, Delhi, and Srinagar—are inscribed on her body in English, along with Gujarat and Bhopal.

Moving on to contemporary times, in the work by Shilpa Gupta, titled ‘There is No Explosive in This, 2007,’ 100 bags were arranged in a flat on Pont Street, London. Each bag was covered in fabric with the text ‘There is no explosive here’ marked on it. Visitors were invited to select a bag and interact with it, whether by taking it for a walk, waiting at a bus stop, or travelling on the tube.

Another example is Reena Saini Kallat, who often blends multiple mediums in her artwork. Her work explores the endless cycles of nature and the fragility of the human condition, reflecting the constant interplay between birth, death, rebirth, construction, collapse, defeat, and resurgence. She frequently uses officially recorded names of people, objects, or monuments that have vanished without a trace. A recurring motif in her art is the rubber stamp, symbolising bureaucratic control and the ‘faceless state’ that both obscures and confirms identities. Since 2003, Kallat has infused her works with irony through the use of rubber stamps. In ‘Falling Fables,’ she used stamps bearing the addresses of missing monuments protected by the Archaeological Survey of India, creating forms of architectural ruins. This highlights the collapse and erosion of collective memory in India and globally.