The cat is undeniably a universally beloved creature that has long transcended its role as a mere domestic companion and also left its paw prints on canvases across global art history. Thus, the Museum of Art & Photography (MAP) in Bengaluru encapsulates this feline existence brilliantly in its latest exhibition, “The Many Lives of the Cat,” which runs from November 8, 2025, to March 29, 2026. This unique exhibition tracks how the cat has been visualized in Indian visual culture from miniature paintings and Kalighat prints to modern canvases, matchbox cases, and contemporary sketchbooks. Curated by Khushi Bansal, the exhibition features the cat’s inescapable presence to dive into artistic narratives. The showcasing of this event is made possible through the scholarly foundation laid by the late art historian Professor B.N. Goswamy. The exhibition draws inspiration from Goswamy’s final book, The Indian Cat: Stories, Paintings, Poetry, and Proverbs.

Feline Figure in Indian Fables

The exploration of the cat’s presence in Indian art actually begins with ancient literature. The cat, or marjara in Sanskrit, is presented as a composite character in ancient texts. In the Buddhist Jataka Tales and the tales of the Panchatantra, the feline often embodies cunning, hypocrisy, and manipulation. These negatively oriented characteristics are also captured in Sanskrit terminologies such as marjara-vrata, or “cat-like observance,” which was used in Mahabharata to denote deceit. 

On the contrary, the Vaishnava bhakti philosophy refers to the marjara-nyaya (the way of the cat) to symbolize absolute surrender to the divine, referring to a kitten that bestows its trust upon its mother, as she carries it to safety. This dichotomy in referencing makes the cat appear as both the saint and the sinner. The exhibition focuses on this split and features different points of views through canvases and sculptures. Furthermore, in the Kalighat prints, the cat walking away with a stolen fish emerged as a recurring motif that symbolized socio-political protest. Whereas in the Mughal miniature paintings, the cat is perceived with more companionable beings, as witnesses to daily domestic lives. 

 

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However, the modern artists’ purview is kind of different; they question the potential of the cat motif through different parameters. Jamini Roy, for instance, systematized the thief-cat motif into a nurturing mother carrying her baby. It was a thoughtful shift, as it successfully generated waves of empathy and care in the minds of the viewers. Artist K.G. Subramanyan depicted the cat with a sense of mischief, often caught in the act of pursuing a fish, symbolizing everyday realism. Also, the inclusion of more contemporary artists such as Chandana Hore and Bhupendra Baghel ensures the artworks remain relevant as a vector for socio-cultural commentary. 

Exhibition Details

Key highlights

• The exhibition spans multiple media: paintings, sculptures, printed ephemera (matchbox covers), and contemporary sketchbooks.
  
• MAP pairs scholarly commentary (drawn from B.N. Goswamy’s The Indian Cat) with playful, interactive elements to engage diverse audiences.
  
• Works by modernists like Jamini Roy sit alongside contemporary responses, showing continuity and reinvention in how artists imagine the cat.
  
• The exhibition foregrounds accessibility: ISL videos, audio descriptions, and physical access features ensure the show is for many, not a few. 

The Experience

The cats have long been a crucial part of the vernacular culture as well as the elite culture. This juxtaposition of belonging to both high and low makes the theme even more engaging and intelligent. MAP has also included interactive and inclusive programming to enhance the visitor experience. An AR-T detective game and audio stories extend the gallery into playful investigation; ISL (Indian Sign Language) videos and audio descriptions underscore MAP’s emphasis on accessibility. These additions are not simply for entertainment; they change the perception of people visiting museums, as people assume that museums are remote spaces with stationary items on display. The particular choice of ‘cat’ being the element of focus is an uncanny decision, which offers a model for how museums can refer scholarship into playful public encounters. 

Takeaway

The “Many Lives of the Cat” is like a masterclass in art curation. MAP has made a brilliant move by keeping the feline as the central anchor of the whole presentation. It honors the scholarship of B.N. Goswamy while validating the everyday, popular appeal of the subject. The exhibition proves that intellectual engagement can also be achieved through delightful engagements. This offers a unique perspective, as a mere domesticated creature is unleashed into the canvases and sculptural forms as a symbol of visual language. 

Museum of Art & Photography (MAP) in Bengaluru is housing an exhibition christened as “VISIBLE/INVISIBLE: Representation of Women in Art through the MAP Collection,” a chronological dialogue on gender and agency within the South Asian visual dictionary. Running for a transformative three-year period (February 2023 to November 2025), the exhibition challenges the paradox that limits the portrayal of women in art. There is an overwhelming visibility of subjects versus near-total invisibility in the agency and narrative. MAP Director and Curator Kamini Sawhney notes that the essence of the exhibition lies in addressing the historical imbalance where, for centuries, the image builders were predominantly male. This inherent structural bias permitted a very limited and biased entitlement to women regarding their control over mainstream representation, leading to the patriarchization of the creative field. But, even among the troop of males, exceptions do exist. For instance, the famous ‘Bharat Mata’ imagery of the Indian Nationalist Movement. 

A Critical Lens on Female Imagery

The exhibition features approximately 130 artworks, spanning from 10th-century sculptures to contemporary photography, through four interconnected narratives. This juxtaposition of ancient and modern works compels the audience to witness how representations of women have been subjected to sequential construction backed by social constructs. The first section, ‘Goddess and Mortal’, explores the dichotomy between the venerated deity and a simple earthly woman. This is expressed through a beautiful contrast between a serene 10th-century sculpture of Brahmani (one of the saptamatrikas or mother goddesses) and Devi (1965) by Bhupen Khakhar, which amalgamates body ideals and religious niche.

The second section, ‘Sexuality and Desire,’ features the complexes of the female body as imagined by others versus the self. It juxtaposes the typical sexualized Bollywood representations, such as the poster for the film Anhonee (1952), where the female body is presented for the male gaze. Interestingly, the print of Saira Banu is placed next to the protagonist, Nargis, who openly explores female desire in Anhonee. The exhibition actively critiques how popular culture homogenizes and normalizes a sexualized and objectified representation of gender and the self.

The Essence 

The power of the narrative unfolds in ‘Power and Violence,’ where the focus shifts to the dynamics of women’s lives, particularly in domestic and public spaces. Violence in the form of physical, sexual, or emotional abuse is directly addressed, as women are frequently subjected to these across public and private spaces. Works like Anoushka Mirchandani’s Wild Refuge (2021), presenting Sita in solitude, reflect on the isolation and refuge sought by women who are abandoned or neglected, pointing out domestic settings as a potential site of threatening actions. Furthermore, the final section called ‘Struggle and Resistance’ cherishes the moments when women successfully challenge mainstream norms and assert their autonomy. This section features contemporary artists like Gauri Gill, Anoli Perera, and Chitra Ganesh, whose works assert agency to the female self. Works such as Perera’s I Let My Hair Loose: Protest Series I (2010-2011) demonstrate significant acts of resistance that dismantle societal barriers.

The curators and the team ensured that the exhibition represents an inclusive space featuring commissioned works by artists such as Arshi Ahmadzai and Renuka Rajiv that expand their artworks to include underrepresented voices concerning gender and caste. To make the viewing experience more immersive and engaging, MAP has installed audio guides as well, enabling a multisensorial experience. 

Exhibition Details

Key Highlights 

• The show features over 130 works, including sculptures, textiles, paintings, and photographs, underscoring the diversity of media used to depict women.
  
• It is structured around four crucial thematic categories: Goddess and Mortal, Sexuality and Desire, Power and Violence, and Struggle and Resistance.
  
• The exhibition explicitly addresses sensitive topics such as physical, sexual, and emotional violence, providing a context for audience awareness and feedback.
  
• Accessibility is a core component, with commissioned tactile artworks and multi-lingual audio guides ensuring a broad, inclusive experience.
  
• It highlights the contribution of modern and contemporary female artists (e.g., Chitra Ganesh, Gauri Gill, Anoli Perera) who actively subvert and challenge the historical male gaze.

Takeaway

Having been displayed for a prolonged period of three years, “VISIBLE/INVISIBLE” is a powerful statement and a stand in itself against the complexities of gender representation in the creative fields. The exhibition functioned not only as a source of amusement but also as a retrospective space that engaged public discourses, research, and emerging POVs. This exhibition intentionally nudges the viewers into an unsettling spot as it rises beyond the structures’ societal boundaries and highlights the autonomy and agency of women who defied these boundaries. The exhibition also highlights progress in the visual culture where women are not just seen, but are duly acknowledged for their works. With this ongoing exhibition, MAP has definitely set up a benchmark in the whole of South Asia that questions history, demands reform, and features authentic voices.