A circle, a triangle, a square. Three marks that once kept time with the monsoon songs of Maharashtra’s Warli villages now arrive in Mumbai’s glass towers as numbered editions. The same economy that tried to scrub them off mud walls now underwrites their survival.
Once dismissed as urban vandalism, street art has undergone a remarkable transformation over the past five decades—migrating from shadowy underpasses and subway trains into the climate-controlled world of galleries and auction houses.
At first glance, Minimalism—a 20th-century design movement—and Aparigraha, an ancient Jain principle of non-possessiveness, may seem worlds apart. One expresses itself through clean lines and white space; the other through spiritual self-restraint. Yet beneath their surfaces, both share a profound, enduring truth: less can lead to more—more clarity, more peace, more meaning.
