[1] Mazudmar has referred to himself as an "expressionist painter"[3] but has also said he generally prefers not to use "a particular word to qualify" his work because it comprises different kinds of media and forms,[4][5] and that art is more interesting when fully given over to the viewer's own experience rather than constrained by the prescriptive power of labels.

Major exhibitions of his work have been presented in Dubai, Kolkata, London, Mumbai, New Delhi, New York, Palo Alto, Paris, Rome, Singapore and Salzburg, among other places.

Noted painter and art educator Shanu Lahiri and renowned Bengali novelist Kamal Kumar Majumdar were his paternal aunt and uncle, respectively.

Poet and art critic Ranjit Hoskote has written that Mazumdar "has served his apprenticeship to the grand tradition of European painting; equally, he has addressed the ingeniously achieved modernism in Santiniketan as well as the Calcutta Group.

In 2004, Seagull Foundation for the Arts presented his sprawling, multi-sensory installed environment New Work in an abandoned apartment building in a crowded Kolkata neighbourhood.

Fragmented images, collaged text and pictures, mythical iconography, abstracted and literal figuration are all built on top of each other, crowding together, yet appearing to be on separate planes of "translucent and opaque paint".

He has used painted canvas and paper, poured industrial tar, mercury coated cups, aluminum reflectors, rubber, wood, wax, engine oil, brocaded textile, masonry, gold, iron, steel, motorized and mechanical devices, light bulbs, filtered light, video, CGI, soundtracks (including recognizable strands of music and recited poetry as well as human screams, traffic sounds, and jumbled noises), and massive freestanding structures such as metal towers with embedded digital content.

"[5] Celebrated painter M. F. Hussain, who once described Mazumdar as one of India's "most dynamic younger artists,"[11] later said of his work "underlying his many shifts in medium, form and style over the years is a sensual intensity that reaches past the clever and the quick to probe deep layers of the human experience in all its tragi-comic universality – archetype, myth, memory, desire, betrayal, longing, ecstasy, pain."

In sacrificing conceptual depth for surface flamboyance, in confusing truism with idea, in mistaking fashion for formal progress, many younger Indian artists have lost their way in a labyrinth where each forked path leads to discovery or a dead end.

Mazumdar, by contrast, has never lost sight of the vital connection between reflection and practice, self-expression and self-critique; he values hesitancy, the creative rupture of one’s own certitude, over the reckless speed of unmediated production.

[10] The exhibition stretched across two floors and included photographs, multimedia installations, tall towers (some of which were covered in lush, textured layers made of fabric), oils leaking out of boxes, and projections of video, light, and sound.

One reviewer described a "crate smok[ing] like an overheated engine which might catch fire at any moment, but close inspection reveals the smoke as vapour.

"[14] One room had stark white walls on which were hung a series of prints titled "One Square Kilometre" showing the decomposing carcass of a calf, photographed over a period of five days.

"[13] Video images showed burning fires, flowing waters, a sleeping girl, "banks of flowers" in brilliant hues, some primary colours, some metallic.

Soumitra Das of The Telegraph wrote "Mazumdar could not have created this daedal overlay of optic and aural sensations by simply wishing it would happen.

The program was curated by Artist Sudarshan Shetty, whose vision for the edition was to present works that "create multiple, layered worlds and urge viewers to move between them".

[18] The River (nicknamed "River of Ideas" by the exhibition), is a multi-room exhibit at the Aspinwall House Archived 26 October 2014 at the Wayback Machine, which features a series of journeys for the viewer, starting with a black metal tunnel "made dangerous with hanging, exposed wires," according to one reviewer,[19] and, in the center of it, a bridge over simulated fires made of incandescent light bulbs.

The work was "inspired by mythical accounts of India as the land of seven rivers" and expresses in a new way, the elements of motion, transition, transience, and memory that are often present in Mazumdar's art.

[19] In discussing the beginnings of the project, he describes a conversation with curator Sudarshan Shetty, wherein the two of them spoke about the ancient river Saraswati, which is no longer extant but lives on in myth and in memory.