Mexico City’s Zona Maco Fair Showcases an Eclectic Range, From Poignant Photographs to Provocative Textiles

The biggest Latin American art fair, Zona Maco opened its 19th edition this week in Mexico City. It’s a decidedly international affair, with galleries hailing from 29 countries. But with 51 percent of the 216 exhibitors coming from Mexico, there is an unmistakable regional flair. “You can feel that it has Latin American personality,” said the fair’s artistic director Juan Canela. “This is something we work for.”

In contrast to some other art fairs, this one was light on bombastic kookiness, metaverse hokum, and blatant selfie bait. Instead, the assemblage was more about slow-burning standouts—paintings that kept me coming back to them repeatedly as I wandered the aisles. Here are a few of the booths and artists that caught my eye.

An installation view of JD Mallat's Zona Maco booth. Paintings by Georgia Dymock (L) and Ghanian artist Kojo Marfo (R) flank Zümrütoğlu's triptych. Courtesy of JD Malat.

An installation view of JD Malat’s Zona Maco booth. Paintings by Georgia Dymock (left) and Ghanian artist Kojo Marfo (right) flank a triptych by Zümrütoğlu. Courtesy of JD Malat.

“I’ve been coming for the past four years,” says Jean-David Malat, founder of London’s JD Malat gallery. “The public is amazing, the collectors are educated, the culture is exciting. It’s why I’m back every year.” His booth, featuring new works by several of the gallery’s artists, added magnetic gravitas to the mix. “There has been amazing feedback for the Turkish artist Zümrütoğlu,” he noted. “We have had so many requests. He is very appreciated by Mexican and American collectors.”

Zümrütoğlu’s arresting, heady triptych Tripoot (2022) was on reserve and expected to sell for $80,000. Three of Ghanian artist Kojo Marfo’s figurative paintings have sold in the $50,000 to $60,000 range, while a Georgia Dymock painting sold for $35,000 and one of Chinese artist Ming Ying’s vivid figurative abstractions went for $18,000.

Josefina Concha E.'s intricately woven, undulating pieces, <I>La mirilla<I> (2022) and <I>Sueño de agua que cae, se transforma<I> (2021). Courtesy of Praxis.

Josefina Concha E., La mirilla (2022) (left) and Sueño de agua que cae, se transforma (2021) (right). Courtesy of Praxis.

Praxis gallery dedicated their booth to Chilean artist Josefina Concha E.’s exquisite craft and ethereal vision. She’ll be having a solo show at the gallery’s New York outpost in April, and specializes in intricately handwoven, sculptural tapestries that riff on female embodiment and empowerment. Some were suspended from the ceiling and floated, ghostlike; others tumbled amorphously from the wall. By the second day of the fair, a midrange piece was acquired for between $20,000 and $25,000, and others had received deserved buzz.

Megan Dominescu's <I>Tears Mix With Rain<I> handwoven rug epitomizes "I have had it" vibes and is on reserve. Courtesy of Anca Poterașu Gallery

Megan Dominescu, Tears Mix With Rain (2022). Courtesy of Anca Poterașu Gallery.

Bucharest’s Anca Poterașu Gallery featured a very different expression in textiles. The Romanian artist Megan Dominescu (who is also part of DJ duo Miss Clitoral) takes a more brash, cartoon-punk approach to her hand-hooked, narrative-heavy rugs. In one, a dog holds a human by a leash and impatiently waits for him to shit. No More Mr. Nice Guy, in which Jesus cruises down the highway on a Harley, shooting a gun, found a taker at Zona Maco, while Tears Mix with Rain (2022)her frazzled, fuzzy take on Munch’s Scream—was on reserve.

LGM Galería, of Bogotá, Colombia showcased recent works by Cuban artist Dagoberto Rodríguez. His intricate architectural watercolor depictions of Legolike bricks stood out with their retro-futurist vibe. Prices ranged from $28,000 to $58,000 for the bigger ones, but they had not found early buyers—surprising, considering the Madrid-based artist’s large body of work.

Dagoberto Rodríguez's <I>Corredor 17<I>(2019). Courtesy of LGM Galeria

Dagoberto Rodríguez, Corredor 17 (2019). Courtesy of LGM Galería.

The O.G. CDMX contemporary heavy-hitter, Kurimanzutto, offered a tight, ruminative edit made up of mostly Mexican artists like Carlos Amorales, Abraham Cruzvillegas, and Gabriel Orozco, whose abstractions ranged from minimal to action-packed. But it was a pair of striking large-scale photographs by Miguel Calderón, from his 1998 “Employee of the Month” series, that particularly resonated with me. They depicted custodial staffers armed with mops and other cleaning supplies. There was beauty in composition, but also grace and dignity. Calderón was on hand at the booth to reminisce about the images, which got their start at the Museo Tamayo.

Miguel Calderón's <I>Empleado del mes #5 <I> (1998) at Zona Maco. Photo: Angela Kelley.

Miguel Calderón, Empleado del mes #5 (1998), in Kurimanzutto’s booth at Zona Maco. Photo: Angela Kelley.

“I was supposed to do a site-specific work there,” the artist recalled. “I started going every day and researching, befriending the people that were cleaning. I felt empathy for them. There were white marble floors and they never stopped cleaning them, although they were already clean. The museum was under renovation, and I couldn’t see the works. So one day they described the paintings from memory, and we went to the roof and recreated them.” Calderón continued, “People look at the art, but don’t pay any attention to people. We established a relationship, and this was the result.” A showstopping three-decade survey of Calderón’s work, “Aesthetic Material Available,” is currently on view at the Museo Tamayo through March 3, 2023.

Zona Maco is at the Centro Citibanamex in Mexico City, February 8–12, 2023.

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A Star Is Born: Midnight Publishing Group’s Matthew Parciak Introduces Cindy Sherman’s Rare Early Vintage Self-Portrait in Our Select Photographs Auction

American photographer and filmmaker Cindy Sherman, recognized for her wide-ranging conceptual self-portraits, is considered one of the most influential contemporary artists working today. An instrumental member of the Pictures Generation, an informal group of artists that formed in the early 1970s who drew inspiration from mass media and pop culture, Sherman created her most famous series, “Untitled Film Stills,” between 1977 and 1980. The collection of photographs is comprised of 70 black-and-white photographs that feature the artist posed as a variety of generic female film characters, replete with carefully crafted sets. As she dons various personae, from wide-eyed ingenue to lonely housewife, Sherman’s enactments of the male gaze convey a palpable unease. This seminal series was ultimately acquired by the Museum of Modern Art, New York, in 1995 for $1 million—the same year the artist was awarded a MacArthur Fellowship, which is commonly referred to as the “Genius Grant.”

A rare and significant example of Sherman’s work, dating from even before her “Untitled Film Stills,” Untitled (Self-Portrait) (1975), is currently live for bidding in our Select Photographs sale. We spoke with Midnight Publishing Group’s Senior Associate of Photographs, Matthew Parciak, about the piece.

Cindy Sherman, Untitled (Self-Portrait) (1975)

Cindy Sherman, detail of Untitled (Self-Portrait) (1975). Est. $50,000–$70,000.

Cindy Sherman, detail of Untitled (Self-Portrait) (1975). Est. $50,000–$70,000.

Can you talk a bit about what makes the Untitled (Self-Portrait) (1975) lot so special?

The work is a vintage print and most likely unique, as no other example of this print has come up at auction. Additionally, the work was gifted to fellow artist John Maggiotto in 1979 when he was the director of Hallwalls Gallery in Buffalo, New York, which is where Sherman had her first solo exhibition. The piece is accompanied by a note to Maggiotto from Sherman expressing the closeness of their friendship.

What does it mean for a photograph to be “vintage”? How does that impact its value?

Vintage works are typically very rare, and usually printed shortly after a photograph was taken (within five years). They reveal an artist’s original intention for an image, using the paper and chemicals available at the time. Because they are so rare, they typically sell for a far higher amount than a more common, later print would.

Letter from Cindy Sherman to John Maggiotto.

Letter from Cindy Sherman to John Maggiotto.

How should we think of this image in relation to her wider oeuvre?

The present work offers an exceptionally early glimpse into Sherman’s mind as a young student in 1975. Years before her acclaimed “Untitled Film Stills,” her interest in character development and the physical manipulation of her own form is evident. The same year this work was made, she also contributed to an exhibition titled “Five Photographers” at the CEPA Gallery in Buffalo, New York. Sherman showed 103 small images, including several alternatives of the present image, that reveal subtle variations on the theme of facial expressions. Each gradually different, the images represent a wide range of nonverbal forms of expression. Here, she glances upward, caught in a moment of extreme foreshortening, which appears flirtatious with her hair clipped back.

For her presentation in “Five Photographers,” her works were divided into two early series, one being “Untitled (Growing Up),” which the present work may be a variation from. Sherman uses the sequential images to illustrate a young girl transitioning from a playful child to a coquettish youth to a serious woman. Aging herself with barrettes, headbands, and makeup, her commentary on this development delves into not only a loss of innocence but a loss of playfulness and energy. Each stage of the process is isolated and represented by a singular facial expression.

Why is now the time to be collecting works by Cindy Sherman?

She is one of the most groundbreaking contemporary artists still working today, and has influenced countless other working artists. A true blue-chip artist, her work consistently sells for high prices. She recently joined the international megagallery Hauser & Wirth after her longtime gallery, Metro Pictures, closed. They recently re-exhibited her important “Untitled Film Stills,” which were clearly influenced by images like the present work.

Richard Prince, Untitled (from Upstate) (1998)

Richard Prince, Untitled (from Upstate) (1998). Est. $8,000–$12,000.

Richard Prince, Untitled (from Upstate) (1998). Est. $8,000–$12,000.

How does this work relate to or complement any other lots in the sale?

Richard Prince’s Untitled (from Upstate) (1998) is also featured in Select Photographs. Both Prince and Sherman are defining artists of the Pictures Generation, and both have close ties to the upstate region of New York; Sherman’s Untitled (Self-Portrait) is from her time as a student in Buffalo.

Glen Luchford and Jenny Saville’s Closed Contact #3 (1995–96) also relates to the work of Sherman. Luchford and Saville delve into the complex and often distorted notions of female beauty. Here, Saville’s form, pressed onto Plexiglas, takes on a kind of monstrous, abstract quality that forces the viewer to question their relationship with the body and with beauty. It’s similar to the way Sherman explores such themes by using extreme prosthetics, wigs, and makeup to completely transform herself into an unrecognizable character. Early in her career, her transformations recalled female archetypes in film using makeup and props, but later in her career, she does not shy away from discomforting the viewer with her images.

Glen Luchford and Jenny Saville, Closed Contact #3 (1995–96)

Glen Luchford and Jenny Saville, Closed Contact #3 (1995–96). Est. $20,000–$30,000.

Glen Luchford and Jenny Saville, Closed Contact #3 (1995–96). Est. $20,000–$30,000.

Browse these lots and dozens more, by artists such as Wolfgang Tillmans, Vik Muniz, and Peter Beard, in the Select Photographs auction, now live through February 15, 2023.

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Spotlight: In Leah Gordon’s Empathetic Photographs, Haitian Carnival Culture Bursts Forth in a New Show Spanning Decades

Every month, hundreds of galleries add newly available works by thousands of artists to the Midnight Publishing Group Gallery Network—and every week, we shine a spotlight on one artist or exhibition you should know. Check out what we have in store, and inquire for more with one simple click.

What You Need to Know: Ed Cross, London, is currently hosting the solo show “Leah Gordon: Kanaval,” which will be on view through February 18, 2023. The selection of black-and-white photography is drawn from a long-term series that Gordon begun when she first visited Haiti in the early 1990s. With images taken over a 25-year period using a vintage analog camera, the works together offer insight into the rich and complex culture and history of Haiti’s southern commune, Jacmel. The exhibition follows the recent reissue of the book Kanaval, by Here Press in November of last year; it features more photographs, as well as oral histories centered on the Carnival season in Jacmel. Later this year, Gordon’s documentary film Kanaval: A People’s History of Haiti in Six Chapters will be shown in select cinemas in November, as well as on BBC 4’s Arena on November 27, 2023.

Why We Like It: What sets Gordon’s work apart from straightforward documentary photography is her reciprocal approach—which has been referred to as “performed ethnography”—to the subjects of her images. Engaging directly with the people and places she focuses her lens on, and communicating through the shared language of Krèyol (also known as Haitian Creole), the sitters maintain their authority and are paid for their time. {Fittingly, 5 percent of the profits from the current show will be used to purchase art materials for Atis Rezistans—Resistance Artists—a collective based in Port-au-Prince.) Collecting oral histories alongside capturing the costume, dress, and setting of the participants and attendees of Jacmel’s annual Carnival celebration over decades has resulted in a dynamic, multi-perspective visual exploration of the vibrant community and culture. Additionally, through this project Gordon has been able to engage with broader themes of history and politics, and bring to light the influence the past—from precolonial society to 18th-century revolt and 20th-century U.S. interference—on modern-day Haitian culture. Of the project Gordon said, “This is people taking history into their own hands and molding it into whatever they decide. So, within this historical retelling we find mask after mask, but rather than concealing, they are revealing, story after story, through disguise and roadside pantomime.”

According to the Gallery: “We are honored to be working with Leah Gordon to present this show. Her iconic work, carried out over two decades, painstakingly and respectfully reveals the layers of meaning behind an extraordinarily rich cultural phenomenon, the study of which unlocks the unique and important history of Haiti, with all its tragedies and triumphs.” —Director Ed Cross

See featured works from the exhibition below.

Leah Gordon, Lansè Kòd | Gason Bó Lanmé-a (Rope Throwers | Boy by the Sea) (2000). Courtesy of Ed Cross, London.

Leah Gordon, Lansè Kòd | Gason Bó Lanmé-a (Rope Throwers | Boy by the Sea) (2000). Courtesy of Ed Cross, London.

Leah Gordon, Madanm Lasirén (Madame Mermaid) (2003). Courtesy of Ed Cross, London.

Leah Gordon, Madanm Lasirén (Madame Mermaid) (2003). Courtesy of Ed Cross, London.

Leah Gordon, Pa Wowo (The Way of Wowo) (2004). Courtesy of Ed Cross, London.

Leah Gordon, Pa Wowo (The Way of Wowo) (2004). Courtesy of Ed Cross, London.

Leah Gordon, Nèg pote Wob fè Fas Kache: Deye (Man Wearing a Dress Hiding his Face: Front) (2004). Courtesy of Ed Cross, London.

Leah Gordon, Nèg pote Wob fè Fas Kache: Deye (Man Wearing a Dress Hiding his Face: Front) (2004). Courtesy of Ed Cross, London.

Leah Gordon, Lanmò (Death) (2019). Courtesy of Ed Cross, London.

Leah Gordon, Lanmò (Death) (2019). Courtesy of Ed Cross, London.

Leah Gordon: Kanaval” is on view at Ed Cross, London, through February 18, 2023.

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Legendary Cinematographer Roger Deakins on Getting Rejected from Film School and Releasing His First Book of Photographs at 72

Shortly before Roger Deakins sat down for this interview about his new book of photographs, Byways, the cinematographer received an email from director Denis Villeneuve, with whom he’d worked on Blade Runner 2049.

“I can see it’s you,” Deakins recalled Villeneuve saying about the book, meaning that he recognized the eye behind the images. 

I can too. Embedded throughout Byways, published this month by Damiani, are many of the Deakins hallmarks made famous by his lens work for directors including Sam Mendes and the Coen brothers, and in such acclaimed films as The Shawshank Redemption and Skyfall. In the book, the yawning highways and wind-whipped hills from a set of shots taken outside Albuquerque seem to recall the landscapes of No Country for Old Men, for instance, while a handful of bleached-out Norwegian vistas put Fargo front of mind. Occasionally, the connections are more overt: here, the tree from the parting shot of Mendes’s 1917 makes a more permanent cameo on the page.  

As a cinematographer, Deakins looms large: he is, for many movie peoples’ money, the greatest person doing the job today (witness his 15 Oscar nominations, with two wins). But his reputation as a fine-art photographer is far less developed. Not only is Byways his first monograph, it’s also the first place many of these pictures have ever been shared publicly. 

It’s for this reason that, as satisfying as the similarities between his films and these pictures are, the differences are just as revealing. Comparing the two bodies of work is an exercise in comparing the essences of film and photography, and an uncommon opportunity at that: rare are the practitioners who are equally accomplished in both formats.

The central difference between Deakins’s two bodies of work makes spending time with Byways a special pleasure. Whereas a film is a collaborative endeavor, one routed through the mind of its director, this collection of still images represents a wholly personal project. It may be the purest distillation of Deakins’s vision—stark, plaintive, and reverent of land and light—we ever get.

Roger Deakins. Courtesy of the artist.

Roger Deakins. Courtesy of the artist.

There are 150-some photographs in the book, representing roughly five decades of work. How many pictures did you go through to come up with that selection? In other words, how big is your archive?

Not very big—I don’t really keep much, you see. I mean, I take a lot of photographs when I’m working on a movie, but they’re just a reference for the film. The photographs that I take for my own pleasure are quite few, really. I don’t have the time when I’m working, and thankfully I’ve had quite a productive career.

So you’re not somebody who carries a camera with you at all times? 

I’m not that obsessed by it, I must say. I do have a camera with me most of the time when I’m shooting a film, but I think it’s a very different thing to spend your own time with a stills camera, looking for something that grabs you.

Roger Deakins, <i>Albuquerque Cemetary Rainbow</i> (2014). © Roger A. Deakins.

Roger Deakins, Albuquerque Cemetery Rainbow (2014). © Roger A. Deakins.

Do you use the camera to record memories, or is it more of an aesthetic instrument for you, a tool to make art?

I don’t like the word ‘art,’ really. [Laughs] I’ve obviously been on holiday and taken snapshots of a memory, but the photographs that are in the book, they just grabbed my attention. I liked the frame or I liked the light. Often I liked the slightly surreal quality of the image, a juxtaposition of things in the frame. It’s not art; I’m not a photographer and they’re not memory aids. I don’t sketch with a pencil. I sketch through the camera, I suppose.


In the foreword to the book, you write, ‘The choice of when to take a picture, and which of the resultant images has a future, reveals something of us as individuals. Each of us see differently.’ Do you think someone who knows your film work could see these images and know they were made by you? What are the ‘Deakins-isms’ we might see here? 

I think there’s definitely a sensibility. That’s true even when I work on a film. I’m not the author of the film, obviously—I’m working for a director and with anywhere up to a couple of hundred people—but I do think you stamp your point of view, your taste, on the work you do. When I shoot films, you can see there’s a continuity, that there’s an individual behind the camera. I look at some other people’s work in film and that’s true, too. I could always recognize a film that was shot by Conrad Hall, for instance; there’s a certain sensibility that he had. That’s the case for still photographers as well. 

Looking back through these photos, I wondered if my eye had changed, and I don’t think it has, really. The photographs I took back then are really quite simple; they’re pared down in terms of what’s in the frame. I guess that’s what I’ve been doing ever since. [Laughs]

Roger Deakins, <i>Teignmouth Dog Jumping</i> (2000). © Roger A. Deakins.

Roger Deakins, Teignmouth Dog Jumping (2000). © Roger A. Deakins.

Why haven’t you shared these pictures before now? 

I don’t know, really. The earliest photographs I took in North Devon, and they’re part of a public archive. But the other images are just things I’ve shot over the years. Some of them were taken in Berlin, for instance. When we were over there working on a movie, I’d go out and explore the city on the weekend. I had my camera and would snap the odd shot. There’s probably three or four in the book from Berlin; maybe I only ever took a dozen total. I don’t take many photographs. It has to be something that grabs me, and then obviously you have to be able to get it at that moment. There are a lot of things that grab your attention but you miss the shot.

These are just photographs from here, there, and everywhere. There’s not really any structure to the book. There’s no rhyme or reason to it, other than the fact that they’re all shots that I like. Some people had asked, ‘Well, why don’t you do a book?’ And eventually I just thought, ‘Yeah, why not?’

One of the first jobs you had out of art school was as a photographer. Can you take me back to that gig? How did it impact the way you saw the world?

Originally I wanted to be a painter, a bohemian! [Laughs] Then, while I was at art college, I discovered photography. My paintings were fairly naturalistic, just based on things that I’d seen, so it made sense to have a camera and photograph the things I saw. A great photographer, Roger Mayne, was teaching at the school; he would come in for a few days every now and again. He was quite an inspiration, him and his work. So I thought I would become a photographer. But then I was talking to a friend who was applying to the National Film School, which was just opening the year that we were finishing at art college. I had always been interested in film, especially documentary filmmaking, and so it seemed like that might be a great opportunity.

Well, I didn’t get in the first time I applied. But in the interim, I was offered this job recording country life in North Devon. I was really hired as a recorder, not necessarily a photographer. I didn’t do a very good job, I don’t think, because I’m not very skilled at recording. I took a lot of photographs, but they weren’t great in terms of documenting a historical moment. Nevertheless, it was a great learning experience for me. I just spent all day every day with my camera, experimenting with framing and other things. It was a great time to play. 

Roger Deakins, <i>Weston - Super - Mare, Looking for Summer</i> (2004). © Roger A. Deakins.

Roger Deakins, Weston-Super-Mare, Looking for Summer (2004). © Roger A. Deakins.

I was going to ask you about your relationship to painting. I know that you’ve always had a love of the medium. Does it influence your work behind the lens?

It’s funny, when somebody asks, ‘What are your influences?’ I don’t know what to say. Surely your influences are every experience you’ve had. There’s so many painters whose work I love and know quite well, whether it’s Francis Bacon or Edvard Munch or Giorgio de Chirico. I studied many of them in college. But to say how much they’ve influenced me, that’s hard. There’s a couple of photographs in the book that remind me of de Chirico, maybe, but is it an influence or just a coincidence? I’m just as influenced by growing up in South Devon and spending my childhood out at sea, fishing. These things accumulate.

All of the photos in the book are black and white, which might come as a mild surprise to people familiar with your work in film, where you have displayed such a mastery of color. What is it about black and white that interests you when it comes to still photography?

I’ve been trying to work in color and I just can’t do it. I just find it uninteresting! [Laughs] Black and white is much more about the content, the frame, and the light. Color can be so distracting. There are very few photographers that really work in color and use it well. Alex Webb is a great example of someone who can use color to his advantage.

Maybe it’s just because I grew up in love with the work of Brassaï and Bill Brandt and Alfred Stieglitz, all these great photographers that worked in black and white. Maybe I’m a bit of a dinosaur.


Roger Deakins, <i>Paignton Lion and the Gull</i> (2015). © Roger A. Deakins.

Roger Deakins, Paignton Lion and the Gull (2015). © Roger A. Deakins.

The relationship between film and photography is something I think about often. It’s a question I’ve asked many photographers in interviews like this one: ‘How has film informed your pictures?’ Every time, without fail, they play it down. 

I believe it.

Why do you think that is? Do you feel that there’s a line to be drawn between the work you do as a cinematographer and your experiences taking photographs?

Obviously, there are things that you learn in one that help you in the other, technically speaking. But I do think capturing a still photograph is very different.

I say at the beginning of the book that I’m not a photographer, and I’m really not; I’ve just taken some pictures. But I think with great photographers, you look at their photographs and there’s a story within them. You can’t really do that in a movie because those frames keep moving. You can’t make the frames too complex, because you’re telling the story as a composite. It’s a different way of communicating, you know? 

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Artists Are Selling $140 Photographs Online to Support India’s Depleted Hospitals as It Battles a Coronavirus Surge

India, the world’s second most populous nation, is in the throes of a deadly coronavirus surge that has claimed the lives of more than 4,000 people in just the past 24 hours. And according to reports from the health ministry, the number of daily infections has exceeded 300,000 every day for the past two weeks.

Now, the arts community is rallying to support overwhelmed hospitals facing dire oxygen shortages.

Art for India, which launched earlier this week and runs through May 9, is a grassroots project selling photographic prints for $140 each by 11 artists from India and its diaspora to raise money for the coronavirus relief group Mission Oxygen.

The project, founded by the London-based Heta Fell, Vivek Vadoliya, and Danielle Pender, will donate 100 percent of its proceeds to the relief organization, a group of more than 250 entrepreneurs in India working to import oxygen concentrators for the hardest-hit hospitals in the country.

In an email to Midnight Publishing Group News, Fell said she was “absolutely distraught” watching the death toll rise, and was “compelled to create something to support people living through this nightmare.”

Fell then reached out to Pender, founder of Riposte magazine, and Vadoliya, a photographer and filmmaker, for help. The trio organized the initiative in just three days.

Artists including Bharat Sikka, Prarthna Singh, Ashish Shah, and Kalpesh Lathigra are contributing to the project. So far, Fell said, they have raised over $27,800, with orders coming in from around the world.

When hot spots in the United States and Europe had similar surges, the art world mobilized with initiatives like Pictures for Elmhurst, which raised $1.38 million for the New York hospital. A similar fundraiser in Italy raised nearly $800,000 to benefit the Pope Giovanni XXIII Hospital in Bergamo.

“We are all united around the urgent need to raise funds for India,” Fell said. “It’s also been beautiful to see the sense of community among the artists involved.”

See some of the works for sale below.

Artwork by Avani Rai. Courtesy of Art for India.

Artwork by Avani Rai. Courtesy of Art for India.

Artwork by Kuba Ryniewicz. Courtesy of Art for India.

Artwork by Kuba Ryniewicz. Courtesy of Art for India.

Ashish Shah, <i>Life and Death by the Ganges</i>. Courtesy of Art for India.

Ashish Shah, Life and Death by the Ganges. Courtesy of Art for India.

Artwork by Bharat Sikka. Courtesy of Art for India.

Artwork by Bharat Sikka. Courtesy of Art for India.

Artwork by Devashish Gaur. Courtesy of Art for India.

Artwork by Devashish Gaur. Courtesy of Art for India.

Artwork by Kalpesh Lathigra. Courtesy of Art for India.

Artwork by Kalpesh Lathigra. Courtesy of Art for India.

Kalpesh Lathigra, <i>Dinosaurs and Cameras</i>. Courtesy of Art for India.

Kalpesh Lathigra, Dinosaurs and Cameras. Courtesy of Art for India.

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