Radhika Chopra grew up dreaming of India through the art that hung on her walls in her home in the U.S. That feeling of wanting to belong to something more—both India and the art world—lingered, eventually leading to a major career change: from working as an economist in New York to working at a gallery. That leap of faith put her in direct conversation with artists like Zarina Hashmi, and she never looked back.
Chopra’s collection began with pieces by M.F. Husain, F.N. Souza, and Arpita Singh and greatly expanded after she moved to India, immersing herself in the fast-growing contemporary art world, budding with new fairs, biennials, and galleries. She established the Foundation for Indian Contemporary Art (FICA), which provides grants for emerging artists, having seen firsthand the importance and significance of supporting artists early in their careers.
For this issue, Chopra lets us into her home, where her incredibly personal collection of art—a passion her daughter is beginning to share with her—continues to shape her life. She tells us about her unique art journey and her advice for aspiring patrons: it’s okay to begin anywhere.
Portrait of Radhika Chopra, photo by Menty Jamir.
From left to right: Shilpa Gupta, Where Do I End and You Begin, 2012; Syed Haider Raza, L’escalier 1966;
Leela Mukherjee, Untitled, (b. 1916 – d. 2003); Louise Bourgeois, Les Etoiles. 2009; photo by Menty Jamir.
WHITEWALL: Was art something you grew up around?
RADHIKA CHOPRA: I was raised in the U.S., always looking for a way to feel connected to India. That connection, surprisingly enough, came through art. My parents had two small paintings they bought from Gallery Chemould around the time I was born in Mumbai. I would sit for hours, staring at them, feeling a deep, almost longing sense of belonging that I couldn’t quite place. These paintings became my silent bridge to a world I hadn’t yet fully understood but desperately wanted to be a part of.
“These paintings became my silent bridge to a world I hadn’t yet fully understood but desperately wanted to be a part of,”
Radhika Chopra
WW: In the late ‘90s, you made the jump from a working economist to a job at Bose Pacia Gallery in New York. What prompted the switch?
RC: When I quit my job, my sister asked me what I would do next—but the way she phrased it was completely unexpected. Instead of a typical “What’s your next step?” she asked, “Who do you envy?” What an intriguing way to look at careers. My answer was immediate: people in the art world. I had recently come across a stunning exhibition of Arpita Singh at Bose Pacia, a small but vibrant gallery dedicated to contemporary Indian art. The experience left me feeling inspired, almost mesmerized.
Without skipping a beat, my sister, ever the pragmatist, suggested I reach out to them for a job. It felt like an adventurous challenge to consider—one that I might have never thought of on my own had she not posed that question.
WW: What did you like about working in a gallery, with artists, at that time?
RC: I joined the gallery at a time when there were no auctions and no established market for contemporary Indian art. The people involved in this world were there for one reason: they were deeply moved by the art itself. For me, it was like stepping through a window into an entirely new world, one I had only imagined. My first assignment was to interview Zarina Hashmi at her studio, and from that moment on, I never looked back.
Radhika Chopra’s Dynamic and Meaningful Art Collection
From left to right: Richard Bartholomew, Rati wearing a sari, Old Delhi, c. 1954; Lionel Wendt, Untiled (Portrait of Woman), c. 1935; Subodh
Gupta, V Title, 2013; Yamini Nayar, Untiled (Arm), 2017; Lionel Wendt, Untitled (Four Men on a Deck), c. 1930-44); photo by Menty Jamir.
WW: How did your collection begin then? What was the first piece you bought?
RC: My first purchase came about in an unexpected way. One day, I received a phone call from a gentleman asking for his unsold painting to be returned. The owners of the gallery decided to send it back, but I jumped at the chance to make it mine. It turned out the caller was none other than Gil Rossellini, the son of Sonali Dasgupta and Roberto Rossellini, asking for his 1956 M.F. Husain. Without hesitation, I used my credit card to buy it for $4,000—a decision that felt both impulsive and transformative.
WW: We read that some early works in the collection were by M.F. Husain, F.N. Souza, Arpita Singh, Zarina Hashmi. What drew you to their work?
RC: The early works I purchased mirrored my own journey of discovering post-independence Indian art. As I delved deeper into the history and evolution of contemporary Indian art, I found myself acquiring pieces that resonated with me personally. Each acquisition felt like a step further in understanding this rich, evolving narrative.
“The early works I purchased mirrored my own journey of discovering post-independence Indian art,”
Radhika Chopra
WW: How did your collection grow from there? Was there a medium, movement, theme, or group of artists you were drawn to?
RC: As I grew more confident in my understanding of contemporary art, my collection evolved, pushing me to make bolder decisions beyond just acquiring works by the masters. While there’s no specific theme or medium I focus on, I’m drawn to pieces that seem to converse with one another within the collection. I’ve come to realize how important it is to curate thoughtfully—to build a collection that has its own dialogue, its own flow.
Building a Life Rooted in the Art World
Courtesy of Radhika Chopra.
WW: Working in a gallery and collecting—how did you see first hand the importance of supporting artists by purchasing their work? Was it important for you to have a relationship with the artists whose work you collected?
RC: Having come from a gallery background, I’ve come to realize how crucial it is to
develop strong relationships with galleries. A good gallerist plays a pivotal role in shaping an artist’s career. It’s through them that I’m able to build meaningful connections with the artists themselves. Art fairs are another great way to discover new galleries and artists—everyone puts their best foot forward, making it an exciting environment to see fresh work and new ideas.
WW: How did living with art impact your life in the beginning of the collection? And now?
RC: Art is integral to my life. My art collection has shaped my life—from the friendships I’ve formed to my travels for art events and the inspiring individuals I’ve connected with—all deeply rooted in the art world. This journey has been incredibly natural and unfolded in ways I never anticipated, yet it feels perfectly aligned.
“My art collection has shaped my life,”
Radhika Chopra
WW: How did your move back to India impact your approach to collecting? – In the past ten years or so, how have you seen the contemporary Indian art landscape evolve?
RC: Collecting art in the U.S. felt limiting at first—my exposure was mainly confined to artists I had access to or works that made their way into auctions. But moving to India completely expanded my horizons. The art world here has also evolved so much—from the India Art Fair and biennales (the Bengal Biennale is the newest addition) to international group shows, and now the Arpita Singh retrospective at the Serpentine Galleries in the U.K. Arpita’s exhibition in New York is where I began—I’ve now come full circle, but in a much richer, more expansive way.
Working Alongside Pivotal Art Institutions
Portrait of Radhika Chopra, photo by Menty Jamir.
Sheela Gowda, Untitled (human hair and metal), 2014, photo by Menty Jamir.
WW: Are there any institutions or organizations that have been important for you to be involved with in the field of art?
RC: I am involved with FICA, the Asia Society Game Changers Awards, Harvard’s Mittal Institute’s Arts Advisory Council, and have supported several important art projects. But I’m especially thrilled to get involved with the Kiran Nadar Museum of Art as it prepares to open its new permanent space. It’s a truly exciting moment for the Indian art scene, and I’m eager to contribute to this next chapter.
“It’s a truly exciting moment for the Indian art scene, and I’m eager to contribute to this next chapter,”
Radhika Chopra
WW: You established the Foundation for Indian Contemporary Art (FICA) – which fundraises and disperses grants for emerging artists. Can you tell us more about FICA and your vision for this platform?
RC: FICA was established as a grant-giving foundation with the goal of supporting the artist community, as well as students, art historians, critics, and curators through grant support. Our mission is to foster long-term relationships with art institutions around the world, all united in the aim of supporting the Indian art community.
Over the years, we’ve forged lasting collaborations with organizations like Pro Helvetia (the Swiss Arts Council), Goldsmiths University, the Inlaks Shivdasani Foundation, the Raza Foundation, Yashodhara Dalmia, The Makers, and the MASH Foundation. At the heart of our work is also education—extending our resources to students and educational institutions with the aim of developing art education as a life tool.
Advice and Insights for Emerging Art Collectors
Radhika Chopra with Lynda Bengalis, Brother Animals, 1993, photo by Menty Jamir.
Portrait of Radhika Chopra, photo by Menty Jamir.
WW: What would your advice be to an emerging collector? Where should they begin?
RC: Begin anywhere. It all starts with that first painting, and before you know it, it becomes a lifelong journey. Along the way, make sure to visit as many galleries, museums, and biennales as you can—each experience is an opportunity to continuously educate yourself and shape your collection.
WW: What institutions should they support?
RC: Align yourself with organizations that are actively supporting artists on the ground—that’s where the real support is needed. In India, there are very few that do this, but FICA and Khoj are two that immediately come to mind.
WW: Who are some of the artists on your radar at the moment?
RC: I’m always discovering new artists when I travel to art fairs and biennales. It’s incredible to see the diverse range of work being produced across all mediums, including video and performance, in the region. The FICA Emerging Artist Award, which once focused on identifying and supporting a single artist from India, has now been re-envisioned as a collective platform to mentor and engage with a group of 10 young practitioners. This year’s list includes talented artists like Madhukar Mucharla and Priyanka D’Souza.
“I’m always discovering new artists when I travel to art fairs and biennales,”
Radhika Chopra
WW: What’s an exhibition you have seen recently that you’re still thinking about?
RC: I’ve had the pleasure of seeing some superb exhibitions this past year, including Bhasha Chakrabarti at Experimenter Colaba, Zaam Arif at Vadehra Art Gallery, and Prabhavathi Meppayil at Jhaveri Contemporary. Each show offered something truly unique and thought-provoking.
WW: Is there work in your home—your office, kitchen, bedroom—you love to see every day? That you could never put in storage?
RC: That’s a tough question. I love being surrounded by art, just as I’ve curated it in my home. I honestly can’t imagine living without any of the work. But at the same time, I’m always mindful of the constraints that come with the spaces we live in. It’s a delicate balance—wanting to live with everything and still being mindful of space.
WW: Is collecting something that you involve your whole family in?
RC: My collecting journey has always been personal, but I believe my daughter, Maya, at 19, is finally beginning to understand and appreciate the significance of the works. She’s grown up with many of the artists visiting our home—Dayanita Singh, for example, taught Maya how to take photographs when she was just 10. Now, I think she truly grasps how special that experience was.
WW: Can you share a recent acquisition you’re excited about?
RC: Dayanita Singh’s Chair series is a perfect example of something I’ve waited for—at least 15 years, in fact. That’s always been my belief in my collecting journey: the right works will find their way back to you. I don’t like chasing artists or artworks, and often, I feel like I’m being left behind in the process of building a collection. But time and again, the works I truly resonate with seem to come full circle and find their way back to me.
“Time and again, the works I truly resonate with seem to come full circle and find their way back to me,”
Radhika Chopra
WW: What are your 2025 art-viewing plans?
RC: I kicked off 2025 with a trip to Doha, where I visited the Museum of Islamic Art, M7, and the National Museum of Qatar before heading to Jeddah for the Islamic Arts Biennale 2025. Not a bad way to start the year! Next, I’m planning to head to London for the opening of “Arpita Singh: Remembering” at the Serpentine in March.
