What is the role of museums and cultural centres in today’s politically charged and AI-inflected world? Premium

Three new major art and cultural spaces in India come with grand expectations. The Kiran Nadar Museum opening in 2026, the recently opened Nita Mukesh Ambani Cultural Centre, and Serendipity Art Foundation’s The Brij offer distinct provocations on the future role of art. Art media is now blurring the lines between fashion, film, style, politics, and architecture. AI is infecting the art world, and art installations are depicting desperate messages of climate change, censorship, and more. Will these new museums move away from self-congratulation and into untested terrain, pushing boundaries and exploring ideas?

Last year, on a whim, I wrote to British-Indian sculptor Anish Kapoor, inviting him, along with dissident Chinese artist Ai Weiwei, and award winning West African architect Francis Kere, to create public artworks in India. Each could select a location of his own liking — a mountain setting in the Himalayas, a crowded street in Varanasi, or an open stretch on a Goa beach — and construct a suitable work, without a brief, on an idea of their own choice. I would, as I wrote in the letter, contact foundations and municipalities for funds and permissions. As expected, there was a long lull; the project received no responses, no funds, and no permissions.

That art, and public art especially, occupies a precarious place in our society is a no-brainer, and doubtless my letter-writing efforts found their way into Spam or the Recycle Bin. But, what had driven me to this illogical invite was the fact that both Indian gallery art and public art rarely ever make magnanimous and exploratory gestures, remaining instead within the safety of acceptable subjects, and nurturing only private talent.

How do we in India live without active engagement with art and the larger question of what it means to be alive today? What then is the space and shape of art in an uncertain time and uncertain place? The idea of bringing three artists to ask these questions was merely in the hope that through their work, cultural collisions would somehow take place, and produce unimagined and unforeseen forms. Had the three wilfully positioned their art in unexpected contexts, historic terrains and traditions, who knows what could have emerged? Something truly magnificent and enlightening. Maybe nothing at all. 

Three new major cultural art centres — with similarly grand expectations — were recently presented to the Indian public. The first was a model for the new Sir David Adjaye-designed Kiran Nadar Museum and Cultural Centre, unveiled in Delhi this July. Expected to open in 2026, the building — described as ‘a cluster of concrete pavilions’ — is meant to be a showcase for India’s emerging artists as well as the owner’s valued permanent collection. 

A few months earlier, the Nita Mukesh Ambani Cultural Centre opened in Mumbai’s Bandra Kurla Complex, with an even broader cultural mandate. A series of dispersed facilities for visual art, theatre, film and fashion, the complex is a reminder of the value placed on all forms of traditional, folk and modern Indian art. 

Amongst the new centres, the third, the Serendipity Arts Foundation’s museum, The Brij, takes the biggest leap away from conventional museum design into both the experimental space and the new medium. Designed by Delhi-based architect Dikshu Kukreja, it states in no uncertain terms that art’s most telling presentation need have no cultural reference at all. The architecture itself can be a fluid sequence of space, real and virtual, live and traditional, all at once.

Three new museums, three distinct provocations on the future role of art. Certainly all three retain the view of the museum as an institution of visual experience, the stage set that engages the physical and the virtual, the popular and the high-brow, in as daring and insightful a way as possible. However, given today’s multiple overlapping mediums in art, new galleries will have their work cut out. The flux in the current social and political climate has so denuded daily life that the museum’s cultural importance becomes all the more critical.