An attempt to map South Asian art

Good news for artists, scholars, and enthusiasts of South Asian art: the Museum of Art and Photography (MAP)’s expansive new online platform, which connects the region’s art histories to a wider public, has been officially launched. On March 2, MAP Academy — a unit of the Art & Photography Foundations and a partner of MAP — unveiled its new name and platform, Impart.

In a chat with DHoS, Varun Nayar, Director of Impart, discussed the transition and its implications for understanding South Asian art, research, and scholarship. Excerpts

What prompted this change?

Building and sustaining a serious, independent, free platform in this space is not easy. We have invested deeply in scholarship, editorial rigour, and long-term institutional collaborations. With this launch, we are laying the foundation for something we believe will have a lasting impact across museums, universities, and the public. This shift reflects MAP Academy’s mission to encourage deeper engagement with South Asia’s art and cultural histories. 

There has been a surge in digital art platforms in recent years. How will Impart distinguish itself?

In an increasingly noisy digital space, our idea is to stand out through clarity of purpose and format. At a moment, almost any subject can be instantly searched; information is abundant, but depth, context, and reliability are not always guaranteed. Our role is to offer carefully researched and edited material that readers can trust. Rather than producing content designed for quick consumption, we focus on building structured, enduring resources that reward sustained attention and close engagement.

What makes Impart’s perspective unique?

Many art institutions and platforms operate within the rhythms of exhibitions, programming cycles, and market timelines. Our purpose is different. We are not tied to a single collection, commercial agenda, or event calendar. This allows us to adopt a broader, long-term view. 

Why focus specifically on South Asia?

Spanning Afghanistan, Bangladesh, Bhutan, India, the Maldives, Nepal, Pakistan, and Sri Lanka, South Asia is home to a quarter of the world’s population and a vast legacy of artistic innovation. The region holds deeply interconnected and historically significant art traditions that are often fragmented or underrepresented in global narratives. Its art histories reflect shared pasts that cut across contemporary political divides, revealing older networks of exchange and imagination that continue to shape the present. A key priority for us is to represent the region more equitably by strengthening scholarship, partnerships, and visibility across South Asia as a whole.

How does Impart approach research?

Our approach begins with careful research to assess where deep and informative introductions can create meaningful pathways for lay readers. We consider the region’s art histories not only through distinct objects and figures, but through networks, movements, and exchanges. We will continuously expand and refine our work, bring in new voices and feedback, and open new lines of inquiry that reflect the region’s complex histories.

What are the major challenges a digital art platform like Impart faces today?

Art history is a fundamentally visual discipline, and meaningful interpretation depends on the ability to reproduce high-quality images of artworks. Because South Asian art is dispersed across public and private collections globally, securing permissions requires sustained coordination and thoughtful navigation of varied licensing structures. Managing these processes responsibly, while continuing to advocate for broader accessibility, is an integral part of our work.