ar more urban Indians engage with modern art today than they did in 1947. Back then, only a handful of critics (including foreign residents) were alert to the stirrings among India’s young artists; now, almost anyone can rattle off the names of half a dozen eminent 20th-century masters, and some of them may even know the prices they command at auctions. This change makes the task of choosing ‘ten of the best’ even harder. It is like that game of selecting a dream cricket team from all historical players—calculated only to provoke outrage at one’s exclusions, with no points scored
