ABSTRACT
The production of cultural meaning of contemporary art from India is constituted according to different perceptions. Taking the example of the travelling exhibition Indian Highway (2008–12), 1 the system of representational politics will be analysed in which some of the involved agents define art as ‘Indian’, and others do not. Instead of taking those politics as a form of ‘geoaesthetic mapping’ (Barriendos 2009), which means categorizing local art according to geographical borders of anyone country or region, engaging ‘transculturality’, and closely linked to that, ‘translocality’, will help to foreground the processuality and transformative quality in the field of art.
