It began at fifteen.
A summer inside the Kiran Nadar Museum of Art, and everything since.
It began at fifteen, in the galleries of the Kiran Nadar Museum of Art: a summer spent not on holiday but inside installation prep, storytelling sessions, and the slow realisation that Indian art holds two millennia of stories most of India has never been told. Everything since has been an attempt to help tell them.
Four terms at KNMA followed, from Pop South Asia to research for the Venice Biennale and the Barbican. A booth at the India Art Fair, explaining complex installations to thousands of visitors a day. Fifty and more recorded conversations with the artists, gallerists, and collectors shaping the Indian art world. A first exhibition spanning twenty centuries. Educated at Sanskriti School and The British School, New Delhi; reading Art History and Management at the University of St Andrews from 2026.
The focus: modern, pre-modern, and contemporary Indian art, with a working fluency in the ancient, the sculptural, and the miniature. The conviction: that art is not content to be seen but a story to be felt.
The fullest record of the work so far is the catalogue for Indian Art Through the Ages: seventy works, from temple sandstone to contemporary canvas, each researched and annotated for the exhibition at Bikaner House.
Sourcing, curation, and counsel across the arc of Indian art.
ADAzaan works with collectors, institutions, and companies: from a first acquisition to an exhibition of seventy works, the approach is the same: rigour in research, discretion in dealing, and stories worth telling at the end of it.