60th Anniversary Conference

All events are in-person only, with the exception of the launch of the Asher Archive (day 1) and the Keynote Presentation (day 2), which will be both in-person and via Zoom. Links will be sent to all registrants for use at these two events.

Day 1: Thursday, 22 December 2022, AIIS Gurgaon

9:30 am-9:40 am Welcome remarks
Sumathi Ramaswamy (President AIIS)
Rebecca Brown (Co-convenor)

9:40 a.m.-10:15 a.m.   Launch of Frederick M. Asher Image Archives on www.vmis.in
Dr. Vandana Sinha
In-person and via Zoom

Book Release:
Encyclopaedia of Indian Temple Architecture, South India: The Annotated and Illustrated Glossary of Dravidian Architectural Terms, Volume 1, Part 5 (New Delhi: AIIS and Manohar, 2022)

10:15 am-12:15 pm
Epigraphy as Tool: The Earliest Chola Temples of the Sapta Sthala
Vidya Dehejia

Wabi-Sabi and Swadeshi: Gurcharan Singh’s Delhi Blue Pottery in Post-Independence Delhi
Annapurna Garimella

12:30 pm-1:30 pm      Lunch
Lunch provided for all presenters and attendees

1:45 pm-3:45 pm
Aesthetic of Light and Time: An Intellectual History of Pictorialism in India
Ranu Roychoudhuri

Artistic Relations: Mapping KCS Paniker’s Constellations
Rebecca M. Brown

4:00 pm-5:00 pm Unveiling of Bust of Dr. Pradeep Mehendiratta
Ambassador Jayant Prasad, IFS, (Retd.)
Followed by High Tea

Day 2:  Friday, 23 December 2022, University of Chicago Center, New Delhi

9:30 am-9:45 am Welcome remarks
Rebecca M. Brown
Sumathi Ramaswamy

9:45 am-12:45 pm
Why Ananda Kentish Coomaraswamy (Still) Matters
Janice Leoshko

Beyond Architecture as Evidence: Gandhi and the Sacrifice of Self-Sacrifice
Venugopal Maddipati

Decolonial, Transnational, Global: Framing the History of South Asian Art
Deborah Hutton

12:45 pm-2:00 pm     Lunch for participants
For presenters only; attendees may avail themselves of lunch options nearby

2:00 pm-4:00 pm
His Auspicious Abode: Re-location as Mode and Model
Anna Lise Seastrand

Fashioning Relics, Making Sites: Temples, Museums, and Parks of Buddhism
Sraman Mukherjee

4:00 pm-5:00 pm       Tea and reception

5:00 pm-6:30 pm       Conference Keynote — Book of Gold: the Golden Ramcharitmanas of Kashi, at court, in the archive and in the market
Kavita Singh
In-person and via Zoom

Book of Gold: the Golden Ramcharitmanas of Kashi, at court, in the archive and in the market

Kavita Singh

For years, the illustrated Kashi Ramcharitmanas – sometimes called the “Golden Ramayana” – has remained practically unknown. Yet it is one of the most remarkable and ambitious manuscript-illustration projects undertaken at the cusp of the 18th-19th centuries and it may well be one of the final flourishes of the great tradition of courtly manuscript illustration that had thriven in North India since the 15th century. Bound into seven volumes, one for each kanda, each page of neatly calligraphed Awadhi text faced a full-page illustration, giving us more than five hundred paintings in all. 

No expense was spared for this project, whose every page is limned with gold and which makes lavish use of other precious pigments. There is, too, a great expense of artistic labour with many finely-finished and ingeniously conceived paintings. Although we do not know the names of individual artists, stylistic variations across the volumes suggest that groups of artists relocated from Awadh, Jaipur, Alwar and Patna to Banaras for the twelve years that it took to complete this set of books.

The patron of this remarkable project was Kashi Naresh Udit Narayan Singh, ruler of Banaras from 1795 till 1835. It seems he commissioned this project shortly after coming to the throne. Udit Narayan Singh is also credited with initiating, or perhaps expanding, that other great celebration of Rama’s story for which Banaras is known – the Ramlila of Ramnagar.

In recent years, a trickle of pages extracted from the Ramcharitmanas manuscript have entered the art market, offering only tantalizing glimpses of the enormous project of which they were once a part. But even while the manuscript is being dispersed, the American Institute of Indian Studies offers an extraordinary opportunity to piece together the entire set through a documentation project carried out by the Centre for Art and Archaeology in the 1970s under the direction of the Ramlila scholar Richard Schechner.

Combining the AIIS’s documentation with photographs gathered from private collections that now own manuscript pages, this talk will offer an overview of the manuscript and the context of its production and discuss its dismemberment as it moved from a courtly library to the art market even while its virtual twin reposed, intact, in the archive. It pays tribute not just to the artists who made the paintings, or the ramayanis and pundits who collaborated with them, but also to the scholars and archivists of the AIIS whose efforts allow us to see the entire Ramcharitamanas – quite unlike the thousands of other manuscripts and sets of paintings that the art market has scattered without maintaining records of the undivided whole. Above all, it is a tribute to an institution and a cause that was so very close to Frederick Asher’s heart, and to which he dedicated so much of his energy and his time.

His Auspicious Abode: Re-location as Mode and Model

Anna Lise Seastrand

Constructed from 2003-2006 in the outskirts of suburban Maple Grove, the Hindu Temple of Minnesota reproduces in miniature 21 famous temples from the Indian subcontinent. At the center of the temple, Varadaraja, a form of Vishnu, stands one inch shorter than his counterpart in Kanchipuram, of which his murti is otherwise an exact double. The temple’s song (kshetra geetam) praises Sri Varadaraja Swamy as the “One who made the City of Maple Grove as His auspicious abode.” Indeed, all of the shrines within the Hindu Temple re-locate both the deities in their specific forms and the forms and materials of their shrines’ construction to the sanctified ground of the Minnesota temple. On this occasion celebrating 60 years of AIIS and of the career of Rick Asher under the theme, “Institutions, Infrastructure, and Interconnections,” this paper explores the meanings and effects of re-locations of sacred sites and the gods who dwell in them. To re-locate is not merely to move; it is to find again, to (re)discover one’s self, friends, and communities in locales both familiar and foreign. To re-locate is to see anew what one thought to be known. It is an orientation to the world and to scholarship. This paper considers the re-location of Hindu sacred sites in respect and gratitude for the many re-locations that AIIS and Professor Asher have made possible for myself and others.

Wabi-Sabi and Swadeshi: Gurcharan Singh’s Delhi Blue Pottery in Post-Independence Delhi

Annapurna Garimella

Gurcharan Singh (1896-1995) is a founder of Indian studio pottery, one of the many craft forms that developed in 20th century India. Making his acquaintance with clay in the colonial-era construction of New Delhi, Singh traveled to Japan to learn industrial ceramics. There he encountered mingei or folk art at the center of the growing Imperial-era Japanese arts and crafts movement. Entering into a dialogue with mingei‘s aesthetics and philosophy, Singh befriended its leaders including the art critic and philosopher Yanagi Muneyoshi, Hamada Shoji, Kawai Kanjiro and the British potter Bernard Leach. With them, he imbibed an enduring commitment to the local, the folk and the aesthetics of wabi-sabi and learned the craft of studio pottery.  Returning to India in 1922, he also made an important and enduring relationship by choosing Abdullah, a hereditary potter from a community of Afghan ceramists who came to Delhi in the Lodi era and were renowned for their distinctive blue tiles, as his teacher.  Singh founded Delhi Blue Pottery, an early center for studio ceramics in India and also established pottery research laboratories in Kashmir and Punjab. My paper takes Singh’s kamandalu tea set and his Delhi blue ware to understand how he took the global aesthetic discourse on craft, folk art and the local to create Indian studio ceramics for design-conscious consumers in post-Independence New Delhi.

Decolonial, Transnational, Global: Framing the History of South Asian Art

Deborah Hutton

Recently I was given the opportunity to co-author a new Asian art history textbook, one that situates the art within a global, rather than strictly regional or national, framework. But what exactly in practical terms does that mean, and why would it be desirable in the context of South Asian studies? If our goal in adopting a global approach to art history is to create a more equitable, inclusive, and accurate history of the entirety of the world’s art, thereby decentering the so-called Western tradition, then the role of South Asian art in the endeavor is clear: allot South Asian art enough space so that the scope of its immense geographic, temporal, stylistic, and material diversity can be properly seen. But what of the reverse? What is the benefit of adopting a global approach to the study of South Asian art, particularly when there is so much local context that needs to be considered? This question is even more vexing because much of the work scholars have done—and continue to do—involves meticulously untethering the study of South Asian history and culture from its European colonialist base. Does placing the history of South Asian art within a global framework risk tying it to neocolonial agendas that seek to exploit cultural differences in the guise of celebrating them? Moreover, what does it mean to intentionally take a global view of South Asian art when one is—as I am—situated in the United States? Is my writing and teaching not global, or at least international, in perspective by default?

This paper explores such questions, ultimately arguing that an intentional and thoughtful global approach, one incorporating decolonial and transnational paradigms, allows us to value multiplicity, mobility, and divergence without reifying differences along cultural, religious, or national lines. In this context, global is not the opposite of local, but rather the two work together to complicate our view of the past and present, of self and other. Adopting a global view of South Asian art allows us to highlight our shared humanity at a time when it is sorely needed.

Why Ananda Kentish Coomaraswamy (Still) Matters

Janice Leoshko

Ananda K. Coomaraswamy’s influence on the art history of South Asian art is pervasive, well known for greatly enlarging conversations and introducing new bodies of material, often productively explored through a granular visual analysis. It is not always well understood, however, how his acute visual sense was honed early in his professional career, not as an art historian but as a geologist. This fed his nascent sensibilities and intractably marked his approach to objects and their classifications. A careful consideration of his scientific activities and writing reveals surprising connections to his later scholarly practice after he had abandoned a scientific career. This paper considers what is at stake if we do not attend to the character of these early efforts. And what is lost if we do not recognize a similar complexity in the careers of later scholars such as Rick Asher who combined interests in geology and photography in order to build meaningful archives?

Aesthetic of Light and Time: An Intellectual History of Pictorialism in India

Ranu Roychoudhuri

In the last quarter of the nineteenth century, Pictorialism emerged as a concerted global aesthetic movement that argued for photography’s artistic status more powerfully than ever before. Pictorialist photographers, known as the amateurs, drew their subject and compositional forms from existing pictorial arts and emphasized soft focus, hazy effects, and diffused uniform natural light. Numerous books, journals, and instruction manuals were published from all over the world championing Pictorialism, alongside specialist exhibitions and salons showcasing pictorialist camera works from across regions.

By looking into Bangla periodical press, this paper investigates the early twentieth-century discourses on Pictorialism that foregrounded light and time as elemental to artistic photography and its materiality. Mass-circulated Bangla articles were not vernacular translations of knowledge and practices produced in metropolitan locations and disseminated in transregional languages. Vernacular was an extension of Bengali amateur photographers’ participation in global cultures of photography and photo-printing, as they remained grounded in their historical specificity. These amateur photographers were bilingual intellectuals who wrote in English for a global public and in Bangla for a Bangla-reading publics and refraining from translating culture as they moved across languages. Indeed, articulations in vernacular didn’t mean a venularization of practice; they used the vernacular to shape and popularize a cosmopolitan practice. Centered around global network of ideas, practices, objects, and people, this history demonstrates how the Bengali amateur’s plurality of belonging and affiliation crafted their pictorialist aesthetic that account for layered timelines to rethink the historiography of modern South Asian art and visual culture.

Artistic Relations: Mapping KCS Paniker’s Constellations

Rebecca M. Brown

As student, teacher, and principal of the Madras School of Art, and as mentor, colleague, editor, and painter, KCS Paniker (1911–77) lived and grew within a network of relations that one might map, following Alex Seggerman’s reading of Egyptian twentieth-century modernism, as a constellation. These figures include artists and critics in his immediate local network, his students who helped build Cholamandal Artists’ Village with him, and his legacy in the form of the following generations, including his son, the sculptor Nandagopal. He also corresponded with a range of collectors, critics, scholars, and artists across India and around the world, both during three trips abroad and in subsequent editorial efforts related to the journal Artrends. “Relations” here therefore includes kin, as well as colleagues and friends, students and teachers, patrons and interlocutors, near and far.

Interspersed among these stars, shining and pulsating in Paniker’s constellation with varying strengths, are the works of art, elements of visual culture, and artists whom he never met but whose work, writing, and aesthetics entered Paniker’s star system, then transformed in the interaction with his own gravity. In past frameworks, we might think of these constellational relations as “influences” but this too narrowly and too unidirectionally defines them, and it causes us to privilege one end or the other of the interaction. These relations, these pricks of light, might include seeing a link between Paniker and artists well outside of his location in Madras whose work with color, or landscape, or symbol illuminates his approach. And we might also put him in a constellation with artists who also read Bauhaus-affiliated thinkers and worked their ideas into their art. My project here is to think broadly and critically about these relations, to enable us to acknowledge them as deeply important for our understanding of Paniker’s work, but also to listen for the dimmer stars, the fleeting comets that might be missed, and to recapture what Édouard Glissant evocatively calls the “errantry” of the poetics of relation. How might attentiveness to Paniker’s intellectual and artistic (and sometimes physical) wanderings—the pushes and pulls of when and how he could get funding to travel, to support Cholamandal, to create new star clusters, to publish a book or a journal—how might we find a path away from “influence” toward a richer, pulsating and shining, picture of relation?

Fashioning Relics, Making Sites: Temples, Museums, and Parks of Buddhism

Sraman Mukherjee

This paper explores sites as mobile entities and maps their peripatetic character as an intrinsic condition of their existence. Sites, in the scope of this study, are traveling Buddhist relics circulating across a range of political and cultural spaces in South and mainland Southeast Asia from 1890s to the present. The making of sites are traced in the ongoing dialogues forged between the relics and the curated spaces and landscapes they have come to inhabit. Framing relics as mobile sites, the paper engages with a wider understanding of relics making in practice to map the shifting materiality of objects – corporeal fragments and contact relics to “non-canonical” modern and contemporary relic making practices located in scopic and haptic domains of photographs, cinema, and the new media. This wider framing of Buddhist relics across media also opens up a number of interlocked sites of curation, visual simulation and ritual practices as performative registers ranging from relic temples, museums, and memorial parks across South and Southeast Asia. Focussing on remaking of an older temple site, Wat Sarkessa (Wat Saket, in Bangkok), and bringing that into a dialogue with the making of Buddhist relic galleries in select museums (in Patna, New Delhi, Hyderabad, and Kolkata) and memorial parks (Buddha Smriti Uddyan, Patna) in contemporary India, this paper seeks to map the itinérance of sites, as signifiers of new visual and sensory domains of modern and contemporary Buddhism.

Beyond Architecture as Evidence: Gandhi and the Sacrifice of Self-Sacrifice

Venugopal Maddipati

“The force of love is the same as the force of the soul or truth. We have evidence of its working at every step. The universe would disappear without the existence of that force. But you ask for historical evidence.”
-MK Gandhi, Hind Swaraj

There can, perhaps, be no more powerful evidence of Gandhi’s desire for renunciation than the architecture of his various homes. Be it at the Satyagraha Ashram in Ahmedabad or at the Sewagram Ashram in Wardha, the austerity of the Ashram buildings and a general absence of possessions within them all too often vouch for Gandhi’s pursuit of self-abnegation and self-sacrifice.

At a considerable remove from Gandhian architecture, however, a Gandhian conception of emptiness or nothingness also involves self-sacrifice, albeit one with no evidence to show for the event of sacrifice. Gandhian emptiness is not simply a space of withdrawal from some objects, rather it is a withdrawal from the very field of evidentiary objects. Gandhian emptiness, in other words, is a sacrifice of the very demonstrative nature of sacrifice.

In this presentation I will be pursuing a conversation between the evidentiary nature of sacrifice in Gandhian architecture, and a non-evidentiary conception of sacrifice in Gandhian emptiness, to draw out the contours for Satyagraha or soul force as an invisible, non-evidentiary, “non-historical” but palpable force in Gandhi’s writings.

Epigraphy as Tool: The Earliest Chola Temples of the Sapta Sthala

Vidya Dehejia

This paper focuses on the largely overlooked temples of the sapta sthala, a set of seven sacred sites just north of the Chola capital of Thanjavur, to question the proposal of a regressive form of kingship during the early Chola period that did not consider temple building an integral part of royal duties. The epigraphic evidence from this septad of temples, that has escaped attention, suggests rather that an intimate connection existed from the very start of Chola rule with sacred sites, temple construction, and temple maintenance. This paper is offered as a tribute to the foresight of Frederick Asher and G.S. Gai in publishing the 1985 edited AIIS volume Indian Epigraphy: Its Bearing on the History of Art.

Anna Lise Seastrand is Assistant Professor in the Department of Art History at the University of Minnesota. She is broadly interested in aesthetics as embodied experience of sacred space. Her publications focus on the art and architecture of early modern southeast India.

Annapurna Garimella is an art historian and a designer. Her research focuses on late medieval Indic architecture and the history and practices of vernacular visual and built cultures in India after Independence. Garimella is the Managing Trustee of Art, Resources and Teaching Trust, a not-for-profit research library dedicated to art, architecture, design and craft histories which also conducts independent research projects and does teaching and advisement for college and university students and independent researchers. She also heads Jackfruit Research and Design, an organization with a specialized portfolio of design, research and curation. Jackfruit’s recent curatorial projects include Vernacular, in the Contemporary (Devi Art Foundation, New Delhi 2010-11) and Mutable: Ceramic and Clay Art in India Since 1947 (Piramal Museum of Art, 2017) and Barefoot School of Craft in Goa (Serendipity Arts Festival, 2017-18). Her newest books are the co-edited volume titled The Contemporary Hindu Temple: Fragments for a History (Marg Foundation, 2019) and The Long Arc of South Asian Art: A Reader in Honour of Vidya Dehejia (Women Unlimited, 2022). Digesting the Past: The Discourse of Sacralized Architectural Renovation in Southern India (14th-17th Centuries) is her book manuscript under preparation.

Deborah Hutton is a Professor of Art History at The College of New Jersey. Her scholarly work examines art made for the Indo-Islamic courts of the Deccan between the late 16th and early 20th centuries. In addition to numerous articles and essays, her publications include Art of the Court of Bijapur (winner of the AIIS Edward Cameron Dimock Jr. Prize in the Indian Humanities) and Raja Deen Dayal: Artist-Photographer in 19th-century India (co-authored with Deepali Dewan). Deborah also pursues projects that strive to rethink and reframe the discipline of art history as well as provide innovative pedagogical resources. To that end, among other endeavors, she served as co-lead author (with Jean Robertson) on the first new art history survey book of the 21st century, The History of Art: A Global View, and she co-authored (with De-nin Lee) the forthcoming, The History of Asian Art: A Global View, both published by Thames & Hudson.

Janice Leoshko teaches in the Departments of Art/Art History and Asian Studies at the University of Texas at Austin. Her research has long explored assumptions about the artistic production in eastern India, especially at Bodhgayā (e.g. Sacred Traces: British Explorations of Buddhism in South Asia). She has also written about archives and exhibitions, partly a result of time spent as a curator at the Los Angeles County Museum of Art. Recent focus on Sri Lankan art has led to her current book project on the significance of early writing and collecting by Ananda K. Coomaraswamy.

Kavita Singh is Professor at the School of Arts and Aesthetics of Jawaharlal Nehru University where she teaches courses in the history of Indian painting, particularly the Mughal and Rajput schools, and the history and politics of museums. Singh has published on secularism and religiosity, fraught national identities, and the memorialization of difficult histories as they relate to museums in South Asia and beyond. She has also published essays and monographs on aspects of Mughal and Rajput painting, particularly on style as a signifying system.  In 2018, she was awarded the Infosys Prize in Humanities and was elected to the American Academy of Arts and Sciences in 2020.

Ranu Roychoudhuri is Assistant Professor of Preforming and Visual Arts at Ahmedabad University. Her research focuses on modern and contemporary art in South Asia with emphasis on photography, print history, intellectual histories of art, art historiography, and postcolonial studies. Her research has been supported by the Foundation for Indian Contemporary Art (FICA), Yale Institute of Sacred Music (ISM), and several centers at The University of Chicago from where she received her doctoral degree.

Rebecca M. Brown is Professor and Chair of the Department of the History of Art and Chair of the Advanced Academic Programs in Museum Studies and Cultural Heritage Management at Johns Hopkins University. She has served as a consultant and a curator of modern and contemporary Indian art for the Peabody Essex Museum, the Walters Art Museum, and the Shelley and Donald Rubin Foundation, and has taught across North America and in the UK. Brown’s research engages in the history of art, architecture, and visual culture of South Asia from the late eighteenth century to the present. Her publications have engaged with several interlinked themes: the early British presence on the subcontinent, the anti-colonial movement of the early twentieth century, art in the decades after India’s independence in 1947, and the economic and political machinations of the long 1980s. Her current research focuses on the painter KCS Paniker (1911–77) and his use of illegible writing on his paintings from the 1960s and 1970s. She is also working on the photographic practice of Dayanita Singh and Annu Matthew, as well as the work of Rina Banerjee.

Sraman Mukherjee is Assistant Professor of Visual Arts at Ashoka University. His research interests include exploring interfaces between past and present in the constitution of the disciplinary and institutional domains of archaeology, museums and art history and in tracing the biographies of sites, objects, and images across South and mainland Southeast Asia.

Venugopal Maddipati is an architectural historian teaching in the School of Design at Ambedkar University, Delhi. He graduated in 2001 from the School of Planning and Architecture in Delhi. He did his MA and PhD in Art History from the University of Minnesota. He is the author of Gandhi and Architecture: A Time for Low-cost Housing (Routledge 2021) and the co-editor of The Materiality of Liquescence (co-edited with Dr. Sugata Ray, Routledge 2019). In 2017 he gave a seminar on the architecture of ecological silence in Berlin. He is currently writing a book on necessity and mimesis in a time of climate-related crises in South Asia. He has been a core faculty in the program on Social Design at Ambedkar University since 2013. He teaches courses on the social contract, intersectionality, shelter and design at the university. He also teaches courses in Art History.

Vidya Dehejia is Barbara Stoler Miller Professor Emerita of Indian Art at Columbia University in New York, and author of a range of books on the history of Indian art that connect the literary and visual arts in meaningful ways. Her recent publications include The Thief who Stole My Heart: The Material Life of Sacred Bronzes from Chola India, 855-1280 (2021), India: A Story through 100 Objects (2021), The Unfinished. Indian Stone Carvers at Work (2016), The Body Adorned (2012), The Sensuous & the Sacred: Chola Bronzes from South India (2002), Discourse in Early Buddhist Art (1997). Between 1994-2002, Vidya Dehejia served as Chief Curator & Deputy Director of the Freer & Sackler Galleries of the Smithsonian in Washington DC, and as Acting Director in 2001-2002. In 2016, she presented the 65th annual A.W. Mellon lectures in the Fine Arts at the National Gallery in Washington DC, a series in which the art of India was featured for the very first time in the 65-year history of the Mellon lectures. The President of India awarded her a Padma Bhushan in 2012 for “Outstanding Contribution to Art & Education.”

Suggested Accommodation for Delhi and Gurugram

For those registering for the conference from out of town and looking for accommodation, we recommend the following:

DELHI
India International Centre
40, Max Muller Marg
New Delhi 110 003
E-mail : hostel.iic@nic.in;  Website: www.iicdelhi.nic.in
(Reservation through membership only)

Hotel the Connaught (4 star)
37, Shaheed Bhagat Singh Marg
Shivaji Stadium, New Delhi 110 001
https://www.seleqtionshotels.com/en-in/connaught-new-delhi/
(Close to Chicago Centre and Metro station for Gurgaon)

Hotel Bloom Rooms (3 star)
1, Janpath Lane

New Delhi 110 001
https://www.seleqtionshotels.com/en-in/connaught-new-delhi/

Colonel’s Retreat (Guesthouse)
Defence Colony
New Delhi – 110 024
www.colonelsretreat.com

Hotel Diplomat (4 star)
9., SP Marg
Diplomatic Enclave
New Delhi 110 021
https://www.thehoteldiplomat.com/
(Centrally located for Gurgaon and Chicago Centre but without an elevator)

GURUGRAM
Double Tree by Hilton (5star)
https://www.hilton.com/en/hotels/deldgdi-doubletree-gurgaon-new-delhi-

Ramada by Wyndham Gurgaon Central (4 Star)
Plot 2 Sector 44, Gurgaon, Haryana 122003
https://www.wyndhamhotels.com/ramada/gurgaon-india

IBIS Hotel (3-star Business Hotel)
Block 1 Sector 53, Golf Course Road
https://all.accor.com/hotel/6363/index.en.shtm

To AIIS Gurugram

The nearest metro station to AIIS Gurugram campus is HUDA City Center. AIIS will provide transportation
from the metro station to its campus on prior notice. Those interested may contact us at caa@aiis.edu.in to avail
of the pick-up.

To UChicago Center Delhi

UChicago Center is located at 3 minutes’ walk from Shivaji Stadium metro station, New Delhi.