PN:  I first visited India in 1990 as a tourist, for three weeks. I then returned in 1993 and stayed for a year, with an apartment in New Delhi, two one-month artist residencies at art colleges in Baroda and Ahmedabad, and plans to see more of the country with and without friends from New York. After that year, I decided to stay for good, with extended visits back to New York in the summers.

PN:  Luckily, the art world of India is conducted entirely in English, so it was relatively easy to access, and there were many galleries already in Bombay [renamed Mumbai in 1995] and a few in Delhi.

PN:  It's grown tremendously and become more sophisticated and international. Of course, those changes are mirrored throughout the societies of urban India.

PN:  I started Nature Morte again in New Delhi because I was finding a lot of interesting work that paralleled the concerns of the New York scene in the '80s: representational and identity politics, new-media strategies, the discourses of appropriation and criticality. Indian artists working within these ideas include Anita Dube, Sheba Chhachhi, Vivan Sundaram, Jitish Kallat, Bharti Kher, Subodh Gupta, Nataraj Sharma, and on and on.

PN:  There's a bit of déjà vu, actually. I'm involved in a scene that's both fueled by a booming internal economy and the attention of the international art world.

PN:  After a few years of getting to know each other, Nature Morte and Bose Pacia formally teamed up in 2003. Bose Pacia provided the capital to open the large space we still have in central-south Delhi and made it possible for us to participate in international art fairs. They needed the curatorial and logistical support Nature Morte could supply from India, while we needed the financial and logistical support they offered to go global.

PN:  The interest from India itself and from abroad is growing so quickly that it's overwhelming to keep up with it all. Certainly, the interest for the more radical and experimental types of art comes more from outside of India, but there are many wealthy people living in India who are willing to pay higher prices for works by new art stars making their mark internationally.

PN:  Increased professionalism, increased competition, increased expectations.

PN:  They're all very talented artists with years of good work ahead of them.

PN:  I still try to take a couple of weeks in Bridgehampton every summer, though I've missed a few summers in a row. Luckily, one of my best friends was able to hold on to a cottage there that I can share with her. My career in India began as a writer, and I wrote a lot of magazine articles and catalog essays about contemporary Indian art. I now write very little — besides the hundreds of emails daily.

PN:  When I came to live in India in the early '90s, pre-email and Internet, I was still very much cut off from the rest of the world, and so I lost the support of most of my dealers. I've shown my work a bit in India, with a solo show of paintings at the Chemould Gallery in Mumbai in April 2004, and I mounted a show of very Indian-inspired works with Nicole Klagsbrun in New York in June 1997. I always have some things in progress in the studio, but these days, I have no time to think about them. Remember, I was a gallerist before becoming an exhibiting artist, and my role here is extremely creative and fulfilling. Someday, perhaps, I'll have more time for art-making again.