Method in the basement—How Sahil Arora and Anica Mann are moulding Delhi’s art scene

In a basement in Defence Colony, something radical is taking shape. Method, Mumbai’s experimental art powerhouse, isn’t just opening another gallery in Delhi—they’re crafting what might be the city’s edgiest, most unconventional art space yet. When Sahil Arora, Method’s founder, first walked down those basement steps, he wasn’t following a business plan. He was following instinct—the same instinct that has guided Method’s bold journey in championing emerging voices for the past five years. Fresh Produce 2025, curated by archaeologist and art curator Anica Mann, embodies this spirit of intuitive disruption. From 750 submissions, Anica and her jury crafted a selection of 30+ artists whose works, in her words, “don’t fit neatly into categories” – and that’s precisely what makes them exciting.

In the intersection of Anica‘s deep understanding of South Asian cultural heritage and Method’s commitment to unrestrained artistic expression, Fresh Produce 2025 isn’t just an exhibition – it’s evidence to art’s living, breathing nature. “Every piece of art has a life of its own,” Anica reflects, while Sahil emphasises their space isn’t about traditional white cubes or social strata—it’s about creating a welcoming environment where experimental art finds its home.

As Defence Colony cements its position as Delhi’s fastest-growing art district, Method’s arrival signals more than just another gallery opening. It’s about making space for authenticity in an art world that often demands pedigree. In this exclusive interview, Anica and Sahil share their vision for Method Delhi, their curatorial philosophy, and why, sometimes, the best way to understand art is simply to ask yourself—does it speak to you?

Sahil Arora, Founder – Method

Kashish Kaushal (KK): What motivated you to expand Method to Delhi at this particular moment?

Sahil Arora (SA): I can’t really say we had a motivation that was business-driven. Delhi has been very nice to us for the last two years since we did Fresh Produce Version 1. We’ve made amazing friends and relationships. This place kind of just happened, which was actually similar to Method’s original story. The building’s owner has been a supporter of Method for years, and when he invited me to see his office, I noticed he already had a lot of Method art. When we went down to the basement, it just felt right for Method to exist there and do the things we want to do.

KK: With Method now operating in both Mumbai and Delhi, how do you envision fostering dialogue between these two distinct art communities?

SA: I haven’t really thought about how to foster a conversation between them because to us, it’s the art community at large. However, our approach is definitely going to be extremely collaborative. Not many Bombay galleries are in Delhi, but many Bombay galleries show amazing art. We want to explore how we can collaboratively use the space in an interesting way. We don’t have concrete plans yet, but it’s something we definitely want to pursue.

KK: After five years of championing experimental art in Mumbai, how are you adapting Method’s bold philosophy for the Delhi art ecosystem?

SA: The Delhi space is far more conducive for Method to experiment with medium-scale art because it’s a larger space, fully open, with higher ceilings that give us more flexibility and room to play. A lot of our curation isn’t about conscious, drawn-out plans, but about who we are as people. It’s the culture we connect with, and that’s what we present through Method.

KK: Could you elaborate on how Method plans to make art more accessible while maintaining its focus on experimental and unconventional talent?

SA: I don’t think accessibility and experimentation are mutually exclusive. For us, it’s about creating a space where experimentation can be presented. Accessibility comes down to how we programme the space. For the last five years, we’ve maintained a very welcoming space. We’re not like traditional white cubes. Our programming is young and fresh, incorporating music, literature, and performance art to encourage younger people to engage with art. The gallery’s vibe is casual – it’s not uptight or restricted to art buyers or a specific social strata. We believe art exists for everyone to consume in their own way.

KK: How does the collaboration with Reformary and the focus on sustainable design align with Method’s vision for contemporary art presentation?

SA: More than contemporary art presentation, sustainability aligns with our overall vision and philosophy. We believe that if there’s an opportunity to do things in a more sustainable way, why wouldn’t you? When we started Method Bandra, we became completely plastic-free, using glass bottles instead of paper cups with plastic lids. With Reformary, we’re excited about their approach to material design and their human-centric philosophy. It’s not just about fitting into the art realm, but about doing things in a better, more sustainable way.

Anica Mann, Archaeologist & Curator – Fresh Produce 2025

KK: With over 750 applications for Fresh Produce 2025, what was the criteria that guided your curatorial vision in selecting the final 30+ artists?

Anica Mann (AM): Curatorially, we were looking for a strong and consistent art practice. We understand that most of these are emerging artists, some even displaying their work for the first time. What we sought was a very strong voice – a bold artistic practice that is unhindered and feels like it will be consistent in the future. Our goal was to identify artists with a distinctive perspective and the potential for ongoing creative development.

KK: How does your background in archaeology and heritage influence your approach to curating contemporary art, particularly for this exhibition?

AM: My academic background is in archaeology and art history, and I’ve always interwoven this with contemporary arts. A strong understanding of South Asia’s cultural context, archaeology, history, and material culture provides a unique perspective on understanding contemporary art’s material culture. What keeps me interested is recognizing that today’s contemporary voice will soon become tomorrow’s history. I enjoy playing the dual role of an observer of contemporary practices while simultaneously functioning as a researcher of past art and archaeological histories.

KK: As someone who documents Delhi’s post-independence architectural heritage, how do you see Method’s presence in Defence Colony contributing to the neighborhood’s artistic legacy?

AM: Defence Colony is becoming the fastest-growing art district in the city. Historically, the old art district was near Mandi House in Bengali Market, with institutions like Triveni Kala Sangam, Sriram Centre for the Arts, and Lalit Kala Academy. Post-independence, many new art districts emerged, and Defence Colony was established as an art district quite early. Now, it’s expanding its approach by including more art galleries. We now have more than 5-6 art galleries in this neighborhood, and it’s wonderful to see important galleries from other cities like Mumbai coming to Delhi to expand their programming.

KK: Could you discuss how Fresh Produce 2025 differentiates itself from your previous curatorial work with the India Art Fair’s Young Collector Programme?

AM: When I first curated the Young Collector Programme, I developed an expanded approach. I advocated that the programme should not only focus on collectors but also on institutions supporting young collectors. I wanted to bring focus to emerging galleries in South Asia. At that time, Method was a gallery that had just emerged during the lockdown. I recommended supporting these young galleries that lack the financial backing to purchase booth space at large fairs like India Art Fair.

Fresh Produce 1.0 was curated by Sahil and Emma while I curated the broader Young Collector Programme. Now, curating Fresh Produce 2.0 with over 50 artists feels like poetic justice and life coming full circle. We had a jury including Uma Jacob from India Art Fair, myself, and Sahil. When we went through 750 applications, our mission was to expand the platform, providing a space for newer artists during the most commercial time of the year.

KK: What challenges and opportunities do you see in curating a show that spans multiple mediums and “things that don’t fit neatly into categories”?

AM: Things that don’t fit neatly into categories are the most exciting to present! Artists have interesting voices, and as curators, we build a platform to contextualize and boldly project these voices. The exciting part is creating space for work that might not find a traditional home. The Method Delhi gallery space is fascinating – it’s edgy, brash, and different from any other gallery space in Delhi. This makes curating any show here incredibly exciting.

The challenge is that we often run out of space to show such unconventional work. But that’s also the opportunity – to challenge traditional gallery presentations and create a space that allows artists’ unique voices to truly resonate.

Public dates : 1st Feb – 16th March 2025