Komu’s image, in fact, intrigued not just Engineer but Usha Mirchandani. The three images in question (a triptych) echo the gesture of Christ with his arms spread out on top of the hill in the city of Rio. The first photograph has a woman, posing for her friend. The other is a photograph of a painting that features Christ on the hill and the third is an image of an electric pole that resembles a crucifix.

While Post Visual, in Dang’s words, talks about the “fatigue of imagery”, there are a few works that manage to stand out. Komu’s is one of them, Hemali Bhuta, whose frame-by-frame flight of a rubber-band captured the attention of gallerists like Mortimer Chatterjee and Tara Lal, is another. Sanjeev Khandekar’s images, a scathing critique of consumer culture, too received many a compliment from fellow photographers and gallery owner Priyasri Patodia.

The classical black and white images that are the normal fare of photo-journalism, however, struggle more to catch the eye since most of the connoisseurs present were looking for something that fell into the genre of what’s considered ‘art-photography’.

While Pablo Bartholomew’s self-portrait is an important visual historically—as it was taken in the ’60s and marks the early days of photography in India—one can see why it was not lauded in the show. Similarly, in Shahid Datawala’s set of images, they were not self-portraits but the fantastically shot colonnades with people moving in and out of them.

Dang’s catalogue puts things in perspective of why one would react to one image and not the other. “In an age where the death of virtually every art practice has been announced, it would be scandalous to suggest the death of the visual. Post-Visual World does not assert or imply the demise of the image.