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S. H. Raza: Traversing Terrains was a historical exhibition at Piramal Museum of Art in Mumbai, on view from 24 June to 28 October 2018. It brought together more than 30 artworks spanning the early 1940s to the late 1990s, tracing Raza’s movement from landscape and expressionist work toward abstraction shaped by Indian visual and philosophical traditions.
What was Traversing Terrains?
Piramal Museum of Art presented S. H. Raza: Traversing Terrains as the first major exhibition of Sayed Haider Raza since his death in 2016. That phrase belongs to the museum’s 2018 announcement; it is not a claim that no posthumous Raza exhibitions had taken place. The Raza Foundation’s selected exhibition history, for example, lists Nirantar (2016), Gandhi in Raza (2017) and Kshitij (2018). The museum’s press release does not define what it meant by “major.” Piramal Museum of Art’s exhibition announcement; Raza Foundation.
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The exhibition was curated by Vaishnavi Ramanathan, curator and art historian, and Ashvin E. Rajagopalan, museum director. According to the museum, it included over 30 artworks from the Piramal Art Collection, as well as letters, publications, critiques and other documents. The announcement also described interactive displays, public and school programming, outreach to younger audiences, and a gallery plan intended to resemble a Raza painting when viewed from above. These details describe the organizers’ plans, not an independent assessment of the visitor experience.
How did the exhibition trace Raza’s evolution?
The exhibition covered five decades of work, from the early 1940s through the late 1990s. Its organizing idea was a journey across places and artistic concerns: Raza’s early life in Mumbai, travels around India and parts of France, including Gorbio, and what the museum described as a metaphorical return to Indian roots. Rather than treating that path as a simple break between an “early” and a “late” Raza, the show set his changing visual language alongside the geographies and ideas that informed it. Piramal Museum of Art’s exhibition announcement.
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From landscape and expressionism
The Raza Foundation describes Raza’s focus on landscapes during the 1940s and 1950s, followed over time by a movement from expressionist modes toward abstraction. The Piramal exhibition’s account placed this development in an international context: Raza received classical training in France and encountered post-war American abstract expressionism. These influences formed part of his artistic background, but the exhibition emphasized how he combined them with Indian sources rather than simply adopting a single school or style.
Toward abstraction rooted in Indian forms
In the Foundation’s account, Raza increasingly incorporated Indian visual forms and developed recurring concepts including the Bindu, the triangle or Tribhuj, and Prakriti-Purusha. The Bindu is described as a center of creation and existence. In the Piramal release, Raza’s language is also linked to nature, philosophy, music and poetry. Together, these descriptions help explain the exhibition’s central tension: abstraction was not presented as a departure from his Indian roots, but as a means through which he pursued them.
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Vaishnavi Ramanathan, one of the exhibition’s curators, described that aim this way: “We thought it was important to present this exhibition not only because of the significance of Raza’s works but also because he arrived in the Indian art scene at a very critical juncture. Though he lived in France, his works were deeply rooted in India and are result of a life-long quest to get to the essence of the visible world around.” Piramal Museum of Art’s exhibition announcement.
Why connect Mumbai, India and France?
Raza’s life and work crossed national and artistic contexts. The museum’s narrative moved from Mumbai through India and France, including Gorbio, while relating his French training and exposure to American abstraction to his sustained engagement with Indian imagery and thought. “Return” in this account is metaphorical: it describes the exhibition’s interpretation of his artistic inquiry, not a claim that his career followed a straightforward geographic or stylistic route.
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This framing also explains the exhibition’s title. “Traversing terrains” points both to changing places and to the terrain of Raza’s ideas and artistic development. The Piramal release presented the works as evidence of a continuing search for the essence of the visible world, interpreted through sources that crossed cultures and disciplines.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.How does it fit into Raza exhibition history?
The Piramal show’s “first major since his death” description applies to that institution’s characterization of its 2018 exhibition, not to every later milestone. The official catalogue chronology records Traversing Terrains in 2018, centennial exhibitions in 2022, and a Raza exhibition at Centre Pompidou in 2023. Centre Pompidou described its show, held from 15 February to 15 May 2023, as the first monographic presentation of Raza in France and said it presented nearly one hundred works in chronological order. That was a distinct claim about a different exhibition and venue. Raza Foundation; Centre Pompidou exhibition page.
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- Author: by Ioannis Anastassakis, MA
- Format: Book
- SkillLevel: Beginning-Intermediate
- NumberofPages: 80
- PublicationDate: 10_24_2002
Where to explore Raza’s work further
For a more comprehensive reference to his output and exhibition history, the Raza Foundation lists three published catalogue raisonné volumes: Volume I (1958–1971), published in 2016; Volume II (1971–1989), released in 2022; and Volume V (2011–2016), published in 2024. The Foundation says Volume II includes artworks, provenance, literature and exhibition details, while Volume V focuses on Raza’s final years in New Delhi. These volumes cover specified periods; they are not a complete chronological set based on the publication details listed there. Raza Foundation.
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