[1] The exhibition, through bringing about a hundred works each of four modern Indian artists, namely Nandalal Bose, Rabindranath Tagore, Ram Kinker Baij and Benode Behari Mukherjee on the centre stage, put the Santiniketan art movement into focus.
[2] Kumar argues that the "Santiniketan artists did not believe that to be indigenous one has to be historicist either in theme or in style, and similarly to be modern one has to adopt a particular trans-national formal language or technique.
On the other hand, the art historian Kumar’s exhibition and related publication, A Contextual Modernism, focused on the Santiniketan artists Rabindranath Tagore, Nandalal Bose, Benode Behari Mukherjee, and Ramkinkar Baij.
"[5] The literary critic Ranjit Hoskote while reviewing the works of contemporary artist Atul Dodiya writes, "The exposure to Santinketan, through a literary detour, opened Dodiya’s eyes to the historical circumstances of what Kumar has called a “contextual modernism” developed in eastern India in the 1930s and ’40s during the turbulent decades of the global Depression, the Gandhian liberation struggle, the Tagorean cultural renaissance and World War II.
The practice of subsuming Nandalal Bose, Rabindranath Tagore, Ram Kinker Baij and Benode Behari Mukherjee under the Bengal School of Art was misleading.