It was in the 1990s that Kiran Nadar began collecting art in earnest. In subsequent years, her curiosity and passion for the subject deepened considerably. As a result, her art collection continued to grow.
“Looking back, what I find remarkable is how organic the entire process has been,” says Nadar, founder and chairperson of the eponymous Kiran Nadar Museum of Art (KNMA), Delhi. The KNMA evolved from the desire to bring greater visibility to Nadar’s private art collection. “The more I collected, the more I felt the need to share,” she says. In the 16 years since its inception, KNMA (India’s first private museum) has become one of the most important cultural institutions in the country, serving as a platform for exhibitions and residencies, publications, and global collaborations. Another fundamental pillar of the museum’s purpose is its robust educational programme, driven by Nadar’s desire to democratise art.
“Art isn’t just for a few; it belongs to everyone. Making it accessible through exhibitions, outreach, and programmes for students and communities allows more people to experience its power to inspire, educate, and connect. For me, this isn’t just a mission, it’s a responsibility,” she shares. As Nadar continues to expand her vision for KNMA, she is moving the institution to a new purpose-built, one-million-square-foot campus in New Delhi. She talks to Robb Report India about her mission and the big shift.
Kiran Nadar (KM) : When we opened the museum, my goal was never just to build a collection; it was to create a living, breathing space for dialogue, learning, and discovery; where art could be accessible to everyone. It’s incredible to see how far we’ve come. The museum has become a platform for emerging and established artists alike, as well as a space where young people, students, and the public can engage with art in meaningful ways.
That said, the journey is far from over. There are always new artists to discover, new stories to tell, and new ways to bring people closer to art. I’m particularly excited about our upcoming landmark building, which will allow us to expand exhibitions, performances, and public programmes on a much larger scale. In many ways, that’s the beauty of it. The work of a museum and of a patron is never finished, and that constant evolution is what keeps it exciting and inspiring every day.
KN: We decided to open the cultural centre because we wanted to expand the possibilities of what a museum can be. KNMA has always been about more than just exhibiting art—it’s about creating experiences, engaging audiences, and nurturing a culture of curiosity and creativity. The new space allows us to do that, as well as bring together the performing and the visual arts under one roof. [We can] have larger exhibitions, showcase commissioned works, host performances and programmes for the public, students, and emerging artists.
KN: What excites me most is seeing it come to life as an inclusive, multi-disciplinary space where people from all backgrounds can connect with art, music, dance, and theatre. It’s a place where the museum comes alive, where new ideas and collaborations can flourish—between India and the rest of the world.
KN: We undertook a rigorous and transparent international search to identify the right architectural partner. It was led by the UK-based competition specialists Malcolm Reading Consultants and launched in the second half of 2018. It began with a longlist of 47 leading studios from 15 countries, followed by a shortlist of five practices invited to develop concept designs.
Adjaye Associates was the unanimous choice of the international jury. Their proposal stood out for its clarity of vision, sensitivity to context, and its ability to create a future-facing institution rooted in India yet global in outlook.
KN: the centre. The new centre is a deeply exciting opportunity for us to both commission and acquire new works. Our collection has grown organically over decades and now includes over 16,000 artworks from South Asia, spanning some of the most significant modern and contemporary practices. As it continues to expand to include classical, folk, and tribal traditions, it traces a remarkable journey— from the 3rd century CE to the 20th century, while also embracing the experimental energy of younger artists.