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[vc_row row_content_width="grid" css=".vc_custom_1585565924555{padding-top: 50px !important;padding-bottom: 50px !important;}" el_class="exhibition-single"][vc_column width="4/6"][eltdf_section_title type="standard" position="" title_tag="h4" disable_break_words="no" title="In The Light Of"][vc_column_text el_class="post-paragraph-font"]One scorching summer noon in 1970, Gulammohammed Sheikh, Nasreen Mohamedi and their cameras visited Fatehpur Sikri. The artist friends were exploring and photographing the site, when Gulam in a gesture of play/camaraderie/solidarity/curiosity took it upon himself to see what Nasreen was seeing through her lens, and literally positioned his lens such that he could access her perspective.

Nasreen’s image of the Anoop Talao at Fatehpur went on to become one of her most reproduced and readily recognised, while Gulam did not develop his negatives for the longest. Years later, when Gulam finally did develop, he realised what had happened: Two near-identical images.


The above-stated events did not transpire. Not as such, anyway.

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