[2] Prominent artists associated with the group were N. S. Bendre, Bhupen Khakhar, Gulam Mohammed Sheikh, Ratan Parimoo, Rekha Rodwittiya, Jyotsna Bhatt, Vivan Sundaram, K. G. Subramanyan, Jayant Parikh[3] and Jeram Patel.
Between 1962 and 1963, Subramanyan and a team of students and faculty collaborated on a terracotta tile mural on the front wall of the Rabindralaya auditorium in Lucknow, illustrating the Rabindranath Tagore story The King of the Dark Chamber.This kind of collaboration between teacher and student was an important aspect of teaching at Baroda, while the medium and content reflected Subramanyan's emphasis on folk craft and indigenous culture.
He said, All consumer goods within such a country can be hand-made, if not home-made, and I presume enterprising economists and social-planners can expound on the need and viability of these.
[10] In 1981, artists Jogen Chowdhury, Bhupen Khakhar, Nalini Malani, Sudhir Patwardhan, Gulam Mohammed Sheikh, and Vivan Sundaram participated in A Place for People, an exhibition focused on contemporary narrative and figurative art.
She saw modernism's simplification of forms as parallel to Indian traditions in sculpture and miniaturism, and thus an important consideration for contemporary artists.
The Indian Radical Painters' and Sculptors' Association pushed back against Kapur's idealistic interpretation of narrative art, launching their own counter-exhibition titled Questions and Dialogue.
[13] Despite this controversy, the Narrative Figurative Movement continues to be an important era of Indian art, as it launched the careers of artists like Sudhir Patwardhan, Bhupen Khakhar, and Nalini Malani.