Beyond the Canvas: Gender Bias in India’s Prestigious Art Galleries

The Indian art industry has long been an arena where cultural narratives and societal structures manifest visibly. Among these manifestations is the lingering question of gender bias—does it pervade India's prestigious art galleries, or has the playing field gradually levelled? While statistics suggest disparities in representation and pricing between male and female artists, some argue that privilege, experience, and evolving societal dynamics have begun to dismantle these barriers. 

The Numbers Don’t Lie

Gender disparities in the Indian art world mirror global trends. Studies indicate that works by male artists fetch higher prices at auctions, receive more institutional support, and occupy greater space in leading galleries. According to industry insiders, male artists often command 20-30% higher valuations than their female counterparts. A quick glance at major auction results over the years also reaffirms this trend, where top-selling works are overwhelmingly male-driven.

Aban Raza, an acclaimed contemporary artist and the Asia Arts Future (India) Award 2024 winner, reflects on this divide through her work. Her paintings capture the stark realities of female labour, revealing an uncomfortable truth: the erasure of women’s contributions to industry, agriculture, and even art itself. “Even the term ‘woman farmer’ exists because ‘farmer’ alone is not assumed to include women,” Raza points out. Similarly, the title ‘woman artist’ suggests an anomaly rather than a norm. “Recognition is slow, and women artists often have to justify their place in the industry more than men do.”

The Experience Factor: Is Bias Diminishing?

While structural inequalities remain, some argue that experience and recognition play a significant role in balancing representation. Bhavna Kakar, founder-director of Latitude 28, a contemporary art gallery in Delhi, provides an alternative perspective. “The industry has certainly evolved over the past decade. Representation of women in gallery spaces has increased, and there is more visibility. However, systemic biases still exist when it comes to pricing and long-term career sustainability,” she explains. Kakar emphasises that while early-career female artists face hurdles, the conversation is shifting, and collectors are more open to investing in diverse narratives. “The market is learning to appreciate the value of artistic voice over traditional hierarchies,” she adds.

Leia Tyebjee, co-founder of Pylot Studios, echoes this sentiment. Having worked in both the New York and Indian art markets, she sees progress in gender inclusivity. “An artist is defined by their craft, not gender. At Pylot, we focus on expression, execution, and originality rather than identity markers,” she asserts. Tyebjee also highlights how the emergence of new platforms, collector bases, and gallery structures has enabled a shift in focus towards artistic merit.

However, she also acknowledges the implicit biases that remain: “While we strive for an equitable art ecosystem, the reality is that unconscious bias still plays a role. Collectors, curators, and even audiences sometimes approach women’s work with preconceived notions. A female artist’s work is often viewed through the lens of gender, while a male artist’s work is seen as a neutral, universal artistic statement.”

Privilege and Accessibility: A Double-Edged Sword

One cannot discuss gender bias in the art industry without acknowledging the role of privilege. Many female artists who successfully navigate the gallery circuit come from backgrounds that afford them better education, networking opportunities, and financial backing. The experience of an urban-based, English-speaking artist differs vastly from that of a rural or lesser-known regional artist trying to break into the industry.

This dichotomy is especially evident in pricing structures. While established women artists like Bharti Kher and Anjolie Ela Menon command high market prices, many emerging artists still find themselves undervalued. Industry critics point out that while galleries are increasingly featuring women artists in group shows, solo exhibitions remain disproportionately male-dominated.

Tyebjee also brings up another layer of disparity—perception. “There’s a tendency to categorise women’s art as ‘soft’ or ‘emotional,’ even when the work is deeply political or conceptual. Male artists are rarely boxed into such labels. This is a subconscious bias that we need to actively dismantle.”

The Case for Change

Despite these challenges, change is underway. Initiatives like all-women art exhibitions, mentorship programs, and gender-sensitive curatorial practices are pushing the industry towards inclusivity. Several galleries have started introducing equitable representation policies, ensuring that their rosters feature a balanced mix of male and female artists.

Furthermore, the digital era has played a significant role in democratising access. Social media platforms, independent art fairs, and online exhibitions have allowed women artists to bypass traditional gatekeepers and showcase their work directly to collectors and audiences. This shift has disrupted the power dynamics traditionally held by elite galleries, offering new avenues for recognition and financial independence.

Tyebjee remains hopeful but realistic: “Representation is improving, but we need to ensure that women artists aren’t just being showcased for the sake of diversity quotas. Their inclusion should be organic, based on artistic merit, and sustained over time. Short-term visibility isn’t enough; we need systemic shifts in how art is valued and marketed.”

 A Nuanced Reality

The investigation into gender bias in Indian art galleries reveals a layered reality. Yes, disparities exist—women artists still face valuation gaps, representation challenges, and systemic hurdles. However, the conversation is evolving. With experience, privilege, and a changing industry, barriers are being dismantled, albeit gradually.

As Leia Tyebjee puts it, “Biases have existed throughout history, but they are gradually diminishing. Artists today have more agency than ever before. The focus must be on creating sustainable opportunities that go beyond a single exhibition.”

For artists like Aban Raza, the journey towards equality in representation continues. Through their work, they not only demand space on gallery walls but also reshape the narrative of Indian contemporary art itself. In the end, the question is not just about recognition but about rewriting an industry’s legacy—one brushstroke at a time.