Bharti Kher, Wiki, Age, Husband, Family, Biography & More

Bharti Kher is an England-born Indian contemporary artist, who is known for her artworks like sculptures, paintings and installations. She is mainly known for devising a bindi theme that she has used in most of her artworks. She usually highlights the issues such as migration, identity, sexuality, femininity, social roles, gender relationships, traditional rituals and popular culture of India in her artworks. She represents the feminine perspective of the Indian patriarchal society in her artworks. In her career span, she has worked with famous art galleries like Hauser & Wirth, Galerie Perrotin, GALLERYSKE, and Nature Morte.


Bharti Kher was born in England in 1969 (age 53 years; as of 2022). From 1987-1988, she studied at Middlesex Polytechnic, Cat Hill, London, and afterwards, she pursued the Foundation Course in Art and Design at Newcastle Polytechnic and received a degree of BA Honours in Fine Art, Painting (1989-1991). After completing her bachelor’s degree in London, Bharti Kher decided to travel to India in 1993. After spending a few weeks, she decided to stay in New Delhi and started her work with paintings.

Physical Appearance

Height (approx.): 5″ 6′
Hair Colour: Black
Eye Colour: Black


She belongs to a Hindu family.

Parents & Siblings

Bharti Kher’s father was a textile merchant and her mother was a seamstress and had her own textile shop.

Husband & Children

In 1993, Bharti Kher married Subodh Gupta, who is also a renowned artist. The couple has two children Lola and Omi.
Bharti Kher with her husband Subodh Gupta


After completing her graduation from London in 1992, Bharti Kher decided to travel to India for a few days. After two weeks in Delhi, she met Subodh Gupta, who also came to Delhi as a struggling artist.


In her artworks, Kher is often seen juxtaposing contradictory things and bringing her own art out of them and giving her own meanings to them. She takes inspiration from everyday life activities for her art. Being born and brought up in London but also experiencing living in India, her artworks reflect the cultures of both countries, making her an artist situated in the geographical and social ambient.


A Natural Unity Of Opposites

In 2021, a sculpture by Bharti Kher entitled “A Natural Unity Of Opposites” was exhibited in the show ‘Strange Attractors,’ held at Nature Morte Gallery, Delhi. The sculpture is a mixed-media work that includes a resin-coated saree placed folded on the trunk of a buffalo, hanging from a rope, and balanced with circular wooden beams. The art piece is influenced by the idea of “knowing self,” coined by the Greek philosopher, Aristotle. Kher wants to urge viewers to find their centre through this art. Explaining the art piece, she said,
The work describes the state of flux where chaos at all times could just be at a tipping point and yet there’s counterbalance and stability. We’re always managing many things, balancing things out like ourselves, families, our sense of well-being and anxieties,”
A Natural Unity of Opposites

Strange Attractors

In the same show, her other sculpture of a disfigured monkey, who is balancing a tiny house on her tail, might reflect the idea of existence and balancing. She remarked,
She’s strange but for me, she’s the shaman. She welcomes you to this strange world where we’re not really sure what’s going or coming.” 
One of the sculpture from the show ‘Strange Attractor’


In her artwork, entitled “Pieta” she portrayed her mother through a sculpture of plaster and wax. The masterpiece by her is inspired by Michelangelo’s Renaissance sculpture Pieta in which Mother Marry is shown carrying the dead Jesus, whereas, the Pieta by Kher is a raw and weathered statue. In an interview with “The Week” magazine, while describing it, she said,
[Through Pieta] I am saying this is my mother and she is the old female ageing body. I wanted to engage with the idea of an old woman politically as well. She is not the revered goddess. I am not making her bigger than she is physically, but emotionally and psychologically this work is gigantic because our mother is the most significant person in our lives,”
Pieta by Bharti Kher

The Skin Speaks a Language Not Its Own

Her artwork “The Skin Speaks a Language Not Its Own” (2006), is one of the most talked about art. It is a model of a life-sized female Indian elephant, made of fibreglass and layered with thousands of sperm-shaped bindis. In Indian cultural and religious terms, the elephant represents Lord Ganesha, the god of wealth and prosperity, and the bindi is a symbol of peace and feminity. In her model, the elephant is lying on her knees; seems peaceful and painful. The model can be considered an apt archetype of India. Kher left her viewers to analyse whether the elephant is trying to rise up or lying exhausted or died, which simultaneously depicts the situation of India. (Sotheby’s)
The Skin Speaks A Language Not Its Own (2006)


The “Ancestor” is a giant statue of an Indian goddess who has 24 heads. It is a large version of a clay artwork of Bharti Kher. It is an 18 feet tall bronze statue, painted with some pastel shades, having a cracked and peeling surface, and located at Doris C. Freedman Plaza at the southeast entrance to Central Park, New York. When asked about its interpretation in an interview, the artist said,
The figure is a mother, but also contains the masculine.” The agglutinated heads represent “all her children,” she added — but also perhaps “her other selves.”

Some of her other famous sculpture by Bharti Kher includes “A Wonderful Anarchy” (2019), “Mother and Child; Amar, Akbar, Anthony” (2017), “Cloud Walker” (2013), “The Messenger” (2012), “Dominate” (2011), “Warrior with cloak and shield” (2008), and “Misdemeanours” (2006).

Mirror art

In her work, “Cause and Effect,” she made use of a cracked mirror, embellishing it with bindis. She said that, according to some myths, broken mirrors are considered a sign of bad luck, whereas, bindi is a symbol of peace and power, and also depicts feminity. She is known for fusing two contradictory elements and giving a constructive meaning to the outcome of this fusion. In an interview, she talked about it and said,
For me it was like if I break them, this is in a way my karma. My act of punk. And I sort of had this thing where it gives me the freedom. And when you break something, you free it from itself. It is an act of defiance, but also broken mirrors are gorgeous, so to turn something that is considered to be not beautiful and show­ing that it actually is, is something that I do quite a lot. I work with opposites.”

In another view, while talking about her mirror art, she said,
I am tapping into the history of mirrors. The body and mind and the idea of you the self is multiple. So when you see a reflection of yourself it is many selves. You break them to fix them and create something new; it uses the idea of regeneration. It’s about loss and love, creation and destruction.”
Her other famous mirror art includes “Indra’s net mirror (series), “The Starry Night after V.G.” (2011), “Placebo landscape” (2019), “The single white line that heard the future calling” (2019), and “Gentle Bitch” (2020).
Starry Night after V.G. (2011)

Saree Work

Kher’s unique use of resin-dipped sarees for making artwork makes her distinct from other artists. She uses sarees to make wall art, and sculptures made by wrapping sarees on chairs or wooden staircases, and the most distinct and incredible are the saree portraits. In these portraits, she uses sarees dipped in resin and wraps them on cement pillars in such a way that it reflects the characteristics of the person to whom it is dedicated. Her saree portrait “Benazir” (2021) depicts the life and assassination of Benazir Bhutto, a Pakistani politician who foretold her assassination. The five holes in her portrait tell that she was shot five times. Kher said,
The saree weaves in and out of her body, and they tell the story of her ins and outs and her comings and her goings, her needs, her desires, frustra­tions. Sarees tell the stories of our lives.”
Through her saree portrait “Cloak for MM” (2018), Kher paid tribute to Mrinalini Mukherjee, a renowned sculptor and her close friend who died in 2015. Kher used Mukherjee’s own sarees to make her portrait. In an interview with “The Week” magazine, Kher said,
She was a great collector and wearer of the most fantastic textiles. This is for her. The idea of this work is that the body becomes somehow a cloak, she could be invisible, magical, somehow she can have the power of something else,”
Cloak for MM (2018)
Some of her other saree portraits include “Portrait Manju” (2013), “My friend unnamed” (2014), and “Portrait Nirmila” (2017) and her famous saree art includes “Man woman I” (2012), “Dominate” (2011), “I find a way to keep it all together” (2011) and “Many ways to say the same thing” (2010).
Dominate (2011)



Bharti Kher is known for her signature use of bindi in her artworks. A bindi is a small dot-shaped adornment, applied on the centre of the forehead, between eyebrows by Indian women. According to Indian spiritual beliefs, a bindi symbolizes the third eye. For more than a period of two decades, Kher is using bindi as a “code, a text, a mem­brane and skin”. On her use of bindi in her artworks, she said,
 To conceal things, to open them up, focus your eye towards a specific point on a sculpture, to lead you in. And the most interesting thing for me is it’s a language that I’ve developed for myself and my own practise, and nobody else has it. So, it’s mine. I can speak it now.”

Her use of bindi for sculptures, paintings, map paintings, and mirror art makes her a unique artist. In 1996, she came up with her first bindi artwork “Spit and Swallow,” and that was the turning point from where she added sculpture to her artwork.
Some famous bindi works by Bharti Kher include “Future is not fixed (series)” (2020), “Maps (series)” (2015-17), “Formless connections” (2016), “Dark Matter MM” (2015), and “Code, cell, grid” (2013).
Formless Connections (2016)

Dark Matter MM (2015)


Through her “Intermediaries” series, Bharti Kher expresses her ideas of transformation and deconstruction of narratives. In the theme of intermediaries, the artist assembles readymade coloured clay figurines (murti) to give them a new form and meaning by putting different things together. Bharti Kher uses figurines of humans, animals, and objects in her art and gives them a new meaning.

Her other famous intermediary works include “Yes no” (2020), “The Fallow” (2019), “Talisman” (2019), “Sisters” (2019), “The offspring of a deity perhaps” (2019), and “The Intermediary family” (2018).
Talisman (2019)

Women and the Body

Bharti Kher also uses the theme of women and the body in her artwork. Her work entitled “Six Women” (2013-15) incorporates the sculptures of six women. Her sitters are the female sex workers, whom she paid to sit for her. She portrayed not only their physique but also the emotions on their face. The idea behind this masterpiece is to show the issue of vulnerability that comes from the nudity of females.  Some other works based on the same theme are “The Hybrid series” (2004), “Mrs Hera Moon” (2006), “Arione’s sister” (2006), and “Lady with an Ermine” (2012).
Six Women (2013-2015)
Under this theme, she also makes use of the adornments used by women such as bindi and saree. Her saree work includes wall pieces, sculptures, and saree portraits. Her “saree portraits” shows the uniqueness of her art, transforming the objects to personify. The saree is an unstitched cloth, draped by women in the Indian subcontinent to cover their bodies. Through her saree portraits, Kher tries to express the memories and emotions of the persons who have worn this unstitched attire. She uses resin-dipped sarees, cement pillars, and some readymade objects like wooden staircases and chairs to make saree portraits. The most amazing thing about these portraits is that she moulds and folds the sarees in such a way that the portrait looks as if it has been transformed into a lively body. In an interview with “Open” magazine, she said,
The saree women came out of this idea of absence and presence of the body.”


Bharti Kher’s artworks have been exhibited at many solo shows and group shows.

Solo Shows

  • AIFACS, New Delhi, India (1993)
  • Art Heritage, (cat), New Delhi, India (1995)
  • Galerie F.I.A, Amsterdam, Netherlands (1997)
  • “Telling Tails” in New Delhi, India and “Telling Tails,” Galerie F.I.A, Amsterdam, Netherlands (1999)
  • “The Private Softness of Skin” at Bose Pacia Modern in New York (cat), USA (2000)
  • “The Private Softness of Skin” at Gallery Chemould in Mumbai, India (2001)
  • “Quasi-, mim-, ne-, near-, semi-, -ish, -like,” at Gallery Ske in Bangalore, India and “Hungry Dogs Eat Dirty Pudding” at Nature Morte in New Delhi, India (2004)
  • “Do not meddle in the affairs of dragons, because you are crunchy and taste good with ketchup,” at Gallery 88 and Ske Gallery in Mumbai, India (2006)
  • “An absence of assignable cause” at Jack Shainman Gallery in New York, U.S.A. and “An absence of assignable cause” at Nature Morte in New Delhi, India (2007)
  • “Sing to them that will listen” at Galerie Emmanuel Perrotin in Paris and “Virus” at BALTIC Centre for Contemporary Art, Gateshead, UK (2008)
  • “disturbia, utopia, house beautiful” at Gallery SKE in Bangalore, India and “Inevitable undeniable necessary” at Hauser & Wirth in London (2010)
  • “Leave your smell” at Galerie Emmanuel Perrotin in Paris (2011)
  • “Many, (too) many, more than before” at Galerie Perrotin in Hong Kong, Bharti Kher, Parasol Unit Foundation for contemporary art, London, and “The hot winds that blow from the West” at Hauser & Wirth in New York (2012)
  • “Anomalies” at Kukje Gallery in Seoul, Korea and “Bind the Dream State to your Waking Life” at Nature Morte in New Delhi, India (2013)
  • “three decimal points. of a minute. of a second. of a degree” at Hauser & Wirth, Zurich and “Misdemeanors” at Rockbund Art Museum in Shanghai, China (2014)
  • “Not All Who Wanders Are Lost” at Isabella Stewart Gardner Museum in Boston, USA (2015)
  • “The Laws of Reversed Effort” at Galerie Perrotin in Paris, “This Breathing House” at Freud Museum in London, “BHARTI KHER Matter” at Vancouver Art Gallery in Canada, and “In Her Own Language” at Lawrence Wilson Art Gallery, Perth, Australia (2016)
  • “Bharti Kher: Sketchbooks and Diaries” at Isabella Stewart Gardner Museum in Boston, USA and “Dark Matter (MM)” at Museum Frieder Burda Salon Berlin, Germany (2017)
  •  “Djinns, things, places” at Galerie Perrotin in Tokyo, Japan, “Messengers” at Grunwald Gallery of Art, Indiana University, Bloomington, USA, “Chimeras,” Pasquart Kunsthaus Centre d’art, Biel/Bienne, Switzerland, and “Points de départ, points qui lient,” at DHC/ART Foundation for Contemporary Art, Montreal, Canada (2018)
  • “A wonderful anarchy” at Hauser & Wirth, Somerset, Bruton, UK (2019)
  • “A Consummate Joy” at IMMA in Dublin, Ireland and “The Unexpected Freedom of Chaos” at Galerie Perrotin in New York (2020)
  • “Strange Attractors” at Nature Morte in New Delhi, India (2021)
  • “Ancestor” at Public Art Fund, Doris C. Freedman Plaza, Central Park, New York, USA (upcoming) (2022)

Group Shows


  •  Hub India: Classical Radical, Accademia Albertina di Belle Arti di Torino, Torino, Italy


  • Tantra: enlightenment to revolution, The British Museum, London, UK
  • Relations (Diaspora and Painting), Fondation Phi, Montreal, Canada
  • Contemporary Female Identities in the Global South, Joburg Contemporary Art Foundation, Johannesburg, South Africa
  • 21st-Century Art from the Pizzuti Collection, Columbia Museum of Art, Columbia, USA
  • Résonance, Fondation Opale, Switzerland
  • Animals in Art, Arken, Ishøj, Denmark
  • Dhaka Art Summit: Seismic Movements, Bangladesh
  • Vision Exchange: Perspectives from India to Canada, Mackenzie Art Gallery, Regina, Saskatchewan, Canada


  • Les arts du Tout-Monde, Musée des Beaux-Arts de Montréal, Montréal, Canada- Driving Forces: Contemporary Art from the Collection of Ann and Ron Pizzuti, Columbus Museum of Art and Pizzuti Collection of the Columbus Museum of Art, Columbus, USA
  • In the Company of Artists, 25 Years of Artists-In-Residence, Isabella Stewart Gardner Museum, Boston, USA
  • Desire in Art, from the 20th Century to the Digital Age, IMMA, Dublin, Ireland
  • Public Art Exhibition, Harvard Business School, Boston, USA
  • La Lumière des Mondes, Domaine des Etangs, Massignac, France
  • Vision Exchange: Perspectives from India to Canada, Winnipeg Art Gallery, Winnipeg, Manitoba, Canada
  • Vision Exchange: Perspectives from India to Canada, University of Toronto Art Centre, Toronto, Canada


  • Vision Exchange: Perspectives from India to Canada, Art Gallery of Alberta – Alberta, Canada
  • Facing India, Kunstmuseum Wolfsburg – Wolfsburg, Germany
  • Like Life: Sculpture, Color, and the Body (1300-Now), The Metropolitan Museum of Art, New York, USA
  • My Monster: The Human Animal Hybrid, RMIT Gallery, Melbourne, Australia
  • I See You, Savannah College of Art and Design, Savannah, USA
  • Surface Work,  Victoria Miro, London, UK
  • The Sculpture Park, Madhavendra Palace at Nahargarh Fort, Jaipur, India
  • Bronze Age c.3500 BC-AD 2018, Firstsite, Colchester, England


  • Fond illusions, Perrotin, New York, USA
  • Portable Art: A project by Celia Forner, Hauser & Wirth, Zurich, Switzerland
  • Versus Rodin: Bodies across space and time, Art Gallery of South Australia, Adelaide, Australia
  • Pizzuti Collection, Visions from India. Transforming Vision: 21st Century Art from the Pizzuti Collection, Columbus OH
  • Salon, Hauser & Wirth, Zurich, Switzerland
  • Sub-Plots: Laughing in the Vernacular, National Gallery of Modern Art, Mumbai, India
  • Approaching Land, Akara Art Gallery, Mumbai, India


  • I Prefer Life, Weserburg, Bremen, Germany
  • Present, Johyun Gallery, Busan, Korea
  • The Future Is Already Here – It’s Just Not Evenly Distributed, 20th Biennale of Sydney, Sydney, Australia


  • Go East: The Gene & Brian Sherman Contemporary Asian Art Collection, curated by Suhanya Raffel
  • Art Gallery of New South Wales, Sydney, Australia
  • Don’t Shoot the Painter – UBS Art Collection, Villa Reale’s Galleria d’Arte Moderna, Milan, Italy
  • Codes of Culture, SKE Gallery, New Dehli, India


  • Whorled Explorations, Kochi-Muziris Biennale, Kochi, India
  • Girl – curated by Pharrel Williams, Galerie Perrotin, Paris
  • Entre deux expositions. Collections et nouvelles acquisitions de l’Institut, Institut Culturel Bernard Magrez, Bordeaux, France
  • Here Today…A major exhibition marking 50 years of the IUCN Red List, The Old Sorting Office, London


  • Textile – Fabric as Material and Concept in Modern Art from Klimt to the Present, Kunstmuseum Wolfsburg, Germany
  • Quartiers d’été, Collection de l’Institut Culturel Bernard Magrez, villa les Roches Brunes, Dinard, France
  • Trade Routes, Hauser & Wirth, London, England
  • We are Ours: A Collection of Manifestos for the Instant, Khoj International Artists’ Association, New Delhi, India
  • Art & Textiles – Fabric as Material and Concept in Modern Art from Klimt to the Present, Kunstmuseum Wolfsburg, Wolfsburg, Germany


  • Misled by Nature: Contemporary Art and the Baroque, Art Gallery of Alberta, Canada (Travelling Exhibition)
  • Dot. Systems. From Pointillism to Pixelation, Wilhelm-Hack-Museum, Germany
  • La Belle & la Bête, Institut Culturel Bernard Magrez, Bordeaux, France
  • India: Art Now, Arken Museum of Modern Art, Denmark
  • The First Kyiv Biennale of Contemporary Art: The best of times, the worst of times. Rebirth and apocalypse in contemporary art’, Kyiv, Ukraine
  • Critical Mass, Contemporary art from India, Tel Aviv Museum of Art, Israel


  • Indian Highway V, MAXXI Museum, Roma
  • Seduction by masquerade, Nature Morte, Delhi, India
  • Paris Delhi Bombay, Centre Pompidou, Paris
  • Indian Highway IV, Museé d’art contemporain de LyonFestival der Tiere, Essl Museum, Klosterneuburg, Austria
  • Maximum INDIA, John Kennedy Center for the Performing Arts, Washington DC


  • Tokyo Art Meeting. Transformation, Museum of Contemporary Art, Tokyo, Japan
  • Pattern ID, Akron Art Museum, One South High Akron Ohio, US
  • The Empire Strikes Back: Indian Art Today, The Saatchi Gallery, London
  • Tauba Auerbach, Matthew Day Jackson…, Galerie Emmanuel Perrotin, Paris
  • Gothenburg Culture Festival Gothenburg, Sweden
  • Lille3000: The Silk Road. Saatchi Gallery London in Lille, Tri Postal, Lille
  • Indian Highway, Herning Kunstmuseum, Denmark
  • Signs of Life. Ancient Knowledge in Contemporary Art, Kunstmuseum Luzern,Lucerne
  • Susan Hefuna, Bharti Kher, Fred Tomaselli: Between the Worlds, Kunstmuseum Thun, Switzerland
  • Facing East: Recent Works from China, India and Japan from the Frank Cohen Collection, Manchester Art Gallery, England
  • Pattern ID, Akron Art Museum, US


  • Marvellous Reality, Lalit Kala Academy, New Delhi, India
Shifting Shapes. Unstable Signs, Yale University School of Art, New Haven CT Narratives from India in the 21st century: Between Memory and History, Madrid / Casa Asia, Barcelona, Spain
  • Who’s Afraid of the Artists? A Selection of Works from the Pinault Collection, Palais des Arts de Dinard, France
  • Bharti Kher, Yayoi Kusama, Eva Rothschild, Mindy Shapero, Marianne Boesky Gallery, NY
  • Les Artistes Indiens d’Aujourd’hui, Palais Bénédictine, Fécamp, France
  • Nature Nation, Museum on the Seam, Jerusalem, Israel
Re-imagining Asia. A Thousand Years of Separation, The New Art Gallery Walsall, Walsall, England (Travelling Exhibition)
  • Where in the world, curated by Kavita Singh, Shukla Sawant and Naman Ahuja, Devi
  • Art foundation, New Delhi, India
  • Chalo! India: A New Era of Indian Art, Essl Museum, Vienna, Austria
  • Chalo! India: A New Era of Indian Art, The National Museum of Contemporary Art Museum, Seoul, Korea
  • Indian Highway, curated by Gunnar B. Kvaran, Astrup Fearnley Museum of Modern Art, Oslo, Norway


  • Indian Highway, curated by Julia Peyton-Jones, Hans Ulrich Obrist, Serpentine Gallery, London, UK
  • Mutant Beauty, Anant Art Gallery, curated by Gayatri Sinha at the Anant Art Gallery, New Delhi
  • Chalo! India: A New Era of Indian Art, Mori Art Museum, Tokyo, Japan
  • Indian Focus, Espace Claude Berri, Paris
  • Everywhere is war, Bodhi Art Bombay, curated by Shaheen Merali, (cat.)
  • Still moving Image, Devi Art Foundation, curated by Deeksha Nath at the Devi Art Foundation, Gurgaon, India (cat.)
  • Expenditure, the Busan Biennale, directed by Kim, Won-Bang at The Busan Museum of Modern Art, Korea
  • Comme des bêtes, (Like animals), Fine Arts Museum in Lausanne, Switzerland, curated by Bernard Fibicher
  • Re-imagining Asia, A thousand years of separation, curated by Shaheen Merali and Wu Hang, at the House of world cultures (cat)
  • Distant Nearness, The Nerman Museum of Contemporary Art at Johnson County Community College, Kansas, USA
  • Passage to India, Frank Cohen Collection at Initial Access Wolverhampton, UK
  • India – Guest in the Giant, RAIN.bow.PEARLS, organized by Swarovski at the Kristallwelten
  • New Delhi – New Wave, Primo Marella Gallery, Milano, Italy (cat.)


  • The Sneeze 80×80, curated by Peter Lloyd Lewis and Natasha Makowski, Cape Town, Durban
  • International exhibition of sculptures and installations, organised by Arte Communications and the Department of culture of the Venice City Council.
  • Urban Manners. Contemporary Artists from India, curated by Adelina von Furstenberg at Hangar Bicocca in collaboration with ART for the World Europa, Milan, Italy
  • Indian Photo and Media Art: A Journey of Discovery, FLUSS – NÖ Initiative for Photo-and Media Art, Weinviertel, Austria
  • Private/Corporate IV, Sammlung DaimlerChrysler- Lekha and Anupam Poddar Collections, Berlin, Germany


  • Fuori Uso 2006- Altered States. Are you experienced? curated by Nicolas Bourriaud and Paolo Falcone, Ex Mercato Ortofrutticolo, Pescara, Italy
  • Asia Pacific Triennale, Queensland Art Gallery, (cat), Brisbane, Australia
  • Le troisième Oeil, Lille 3000, curated by Caroline Naphegyi, (cat), Lille, France
  • Inside outside, Nature Morte, New Delhi, India
  • Hungry Gods, Arario Gallery, (cat), Beijing, China
  • Made By Indians, Galerie Enrico Navarra, Art on the beach, (cat), St Tropez, France
  • Long Happy Hours Thereby Happiness & Other Stories, Gallery Chemould at The Museum Gallery, Mumbai, India


  • Zeitsprunge Raumfolgen curated by Simone Wilke, IFA Galerie Berlin and Stutgard, (cat), Germany
  • Mom and Pop, Walsh Gallery, Chicago, USA
  • Indian Summer, curated by Deepak Anand and Jany Luga, ENSBA, (cat), Paris
  • Indian Summer, Nature Morte, New Delhi
  • Het offer/ an intimate I: droom en werkelijkheid, De Beverd Museum voor Grafische werkeljkheid, Breda


  • Contemporary Art From India, Thomas Erben Gallery, New York, USA
  • Vanitas Vanitatum, curated by Peter Nagy for Sakshi Gallery, Mumbai, India
  • The SNEEZE, a Featured Film 80 artists x 80 seconds 106 minutes, curated by Natasha Makowski and Peter Lloyd Lewis, (cat), Athens, Greece
  • Adrogyne, curated by Alka Pande at India Habitat Center, New Delhi, India


  • Crossing Generations: diverge, curated by Geeta Kapur and Chaitanya Sambrani for 40 years of Gallery Chemould, (cat), Mumbai, India
  • The Tree from the Seed: Contemporary art from India, curated by Gavin Jantjes, Henie Onstad Kunstsenter, (Cat), Norway
  • Sirpur Paper Mills, workshop Exhibition, at Art Inc, New Delhi, India
  • Bad Taste, Apparao Gallery, at The Apeejay New Media Centre, New Delhi, India


  • Under Construction, Tokyo Opera City Art Gallery, (cat), Tokyo and Japan Foundation, Japan
  • Khoj Residency Show, Khoj Studios, New Delhi, India
  • Creative Space, Sakshi Gallery, at Habitat Centre, (cat), New Delhi, India
  • Photosphere, curated by Peter Nagy, Nature Morte, New Delhi, India
  • Playgrounds & Toys, ART for The World, Geneva, in Delhi with Nature Morte
  • Cutting Edge Contemporary, curated by Art Edge, NGMA Mumbai, Interiors Espana, New Delhi, India
  • GLUE, curated by Peter Nagy at Sumukha Gallery, Bangalore, India
  • Borderless Terrain, curated by Alka Pande, India Habitat Center, (cat), New Delhi, India
  • Silence Violence, NSA Gallery, a Pulse Project, curated by Greg Streak Durban, NieBethesda and Stellenbosch, South Africa
  • MANGO, A SAWCC show for Talwar Gallery, New York, USA
  • Sorry For The Inconvenience, curated by Gridthya Gaeweewong for Japan Foundation, at Project 304, Bangkok, Thailand and Tokyo Opera City Art Gallery Tokyo (Cat)
  • Sidewinder, curated by Gerard Hemsworth for CIMA Gallery, Kolkata, India


  • Art On The Move, a Sahmat Project curated by Vivan Sundaram, in 5 venues in Delhi, India
  • Kitch Kitch Hota Hai, curated by Madhu Jain for Gallery Espace, India Habitat Center, (cat), New Delhi, India


  • Open Circle Exhibition, Lakeeren art Gallery, (cat), Mumbai, India
  • of, based on, or obtained by (Tradition), Nature Morte, New Delhi
  • Aar Paar, an exchange between five Indian and Pakistani artists, curated by Shilpa Gupta and Hema Mulji, at Kundan Pan Shop, Karachi, Pakistan


  • Impact, curated by Jim Beard Gallery, Amsterdam at CCA New Delhi, India
  • Embarkation’s, curated by Yashodra Dalmia, Sakshi Gallery (cat), Mumbai, India
  • Icons of The Millenium, curated by Lakeeren Art Gallery, Nehru Centre, (Cat), Mumbai, India
  • Boxwallahs, Art in a Public Space with De Ego, a collaborative work with Subodh Gupta at Sahay Filling Station, Gurgaon/ Mehrauli Road, N.H.8, India
  • Hed end aagse Kunst uit India, Central Bureau Vande Hogeschool, Amsterdam, The Netherlands


  • Edge of The Century, curated by Amit Mukopadya, British Council, (cat), New Delhi, India
  • Cryptograms, Lakeeren Art Gallery, (cat), Mumbai, India


  • Royal Overseas League Open Exhibition, Overseas House London, Edinburgh College of Art, UK
  • Of Women Icons/Stars/Feasts, Eicher Gallery, (cat), New Delhi


  • 6th Bharat Bhawan Biennal of Contemporary Indian Arts, Bhopal, India
  • Sakshi Gallery, Mumbai, India
  • Postcards for Gandhi, a Sahmat Exhibition in five cities in India


  • Trends in Contemporary Indian Art, Art Heritage, New Delhi, India


  • Aspects of British Figurative Painting (1988-93), Milton Gallery, London, UK


  • Fresh Art, the National Fine Arts Degree Fair, the Business Design Center, London, UK
  • Squires Gallery, Newcastle Polytechnic, Newcastle upon Tyne, UK

Awards, Honours, Achievements

  • In 2003, Bharti Kher was presented with the Sanskriti Award.
  • In 2007, she won the award for YFLO Women Achiever of the year.
  • Bharti Kher won ARKEN Art Prize in 2010
  • She won the highest French cultural award, Chevalier dans l’Ordre des Arts et des Lettres (Knight of the Order of Arts and Letters of France) in 2015 for her contribution to the landscape of contemporary art, both in France and internationally.


  • In 2016, Bharti Kher’s bindi theme was used by Manish Arora to design a dress for ‘Paris Fashion Week SS17.’
    A model wearing a dress designed by Manish Arora, based on the bindi theme, devised by Bharti Kher
  • In June 2010, the famous artwork “The Skin Speaks A Language Not Its Own (2006) by Bharti Kher was sold for approximately 7 crores at the Contemporary Art Evening Sale at Sotheby’s. The sale made her the first Indian contemporary female artist to have a rank among the big numbers league of Anish Kapoor, Raqib Shaw, and Subodh Gupta.
  • After graduating from London when Kher decided to travel, she made a choice between New York and New Delhi by tossing a coin. She came to New Delhi for some days but after meeting Subodh Gupta, she decided to stay in Delhi. In an interview, while talking about this, she revealed,
    I had no intention of staying in India; I just thought I’m going to travel around the country.”
  • In 1997, Khoj International Artists’ Association was formed by some artists including Bharti Kher and her husband Subodh Gupta. The “Khoj” movement was started in order to help the artists by collecting funds for them.
  • In 2010, Bharti Kher started an art series entitled “The Virus Series” that includes the bindi artwork followed by text in which she gives her predictions. It is a 30 years project that will end in 2039. Describing her series, she said,
    For me, Virus is just an amalgamation of all the different interests that I have. Being alive, living, sexuality, contemporary politics, so many different things. And every year its marked by how old I am. The project started when I was 40 and will end when I am 70.”
  • In 2020, Bharti Kher designed the Lady Dior bags with her signature motif, bindi. She brought Indian bindi and Christian Dior company together, and when asked about the idea behind this in an interview with the magazine “Vogue”, she said,
    It’s two signatures; you join them and you have a hybrid. It was seamless. And since I am a sculptor, I don’t think of a bag as any different from any other three-dimensional surface.”
    Bharti Kher holding Lady Dior bags designed by her