TAKE Books: Editor's Note
Why Books?
The Weight of Time
Rock by Rock
Phaalgun sudi 9 samvat 2078
Chittaprosad, A Retrospective
Botanical Drawings
Cock, Indian Firework Art
Molly Emma Aitken, The Intelligence of Tradition in Rajput Court Painting'
Maps of Delhi
A Manifesto for Impermanence
Deccan Traverses, The Making of Bangalore’s Terrain & Soak, Mumbai in an Estuary
Bhimayana as a Dwelling
Two Books for a Past, Present and a Future
Cartography of Bombay Cinema
Indian Tiles, Architectural Ceramics from Sultanate and Mughal India and Pakistan
Subhash Parihar on the Indo-Islamic Architecture of Punjab, India
Mutable, Ceramic and Clay Art in India Since 1947
With Great Truth & Regard, Tapping the Past
Wondrous Love and the Great Mughal Book
TAKE Editions: The Reflection on Critical Art Vocabulary Laced to Economy of the Art Market
For Everyone Archives their Photographs: Dayanita Singh’s Museum Bhavan
A Moving House or a Landscape
Mapping Metamorphosis: A review of Tanmoy Samanta’s ‘The Shape of Home’
Silences and Speaking Out Loud: Varunika Saraf’s ‘Caput Mortuum’
Homeland as a Creative Circuit
Liquid Bodies and Morphing Sites: ‘Adorning Shadows’ by Radhika Khimji
Undeciphered
‘All Canaries Bear Watching’: The Pharmakon of Left Curatorialism?
Immigrants of Culture and Nature
An Ode to Afterlife: A Review of Jayasri Burman’s ‘River of Faith’
A Timeless Line
Beyond the Frame: Exploring Contemporary Textile Art with Uthra Rajgopal
Conversations with the Self and the Moon
20th Century Indian Art: Modern, Post-Independence, Contemporary
Bangalore’s Lalbagh: A Chronicle of the Garden and the City
Vivan Sundaram is not a Photographer or Why Vivan Sundaram Returns to Photography
Shahidul Alam, The Tide Will Turn
Reconceiving Genre: Art Documents For The Twentfirst Century
Shilpa Gupta: Drawing in the Dark
Interview with Murti Ahuja
Fly on the Wall
Cast