[citation needed] The artist has been a resident at the Mattress Factory, Pittsburgh, United States, and was a Ford Foundation Fellow at the New School for General Studies, New York.

[1] In 1999, he was the only Indian artist commissioned to make a public sculpture (Home and Away) in Fukuoka, Japan, as a part of Hakata Reverain Art Project, curated by Fumio Nanjo.

[4] Sudarshan Shetty trained in painting at the Sir JJ school of Art, Mumbai, during the late 1980s, but found himself increasingly attracted to the idioms of sculpture and installation.

This is also a ploy to bring in a passerby into this arena – to seduce with the familiar.” [13] Sudarshan's earlier concerns and themes evolved around the politics of absence or loss of body, of death, of ‘being elsewhere’.

I think most of us are condemned to be elsewhere: I embrace this predicament and rejoice in it.’[15] With his recent shows The more I die the lighter I get and this too shall pass and for a few years preceding it Sudarshan has become more absorbed with the ideas of futility and meaninglessness.

Heightening notions of futility through repetitiveness, where mechanical shoes walk on and on, vessels fill and empty and coats dip in and out of liquids, there is artifice in the making of the work itself and in staging it where the object becomes the referential to the real event maybe distant in the viewer's memory of it.

[4] The exhibition that took place at Pundole Art Gallery and Framasji Cawasjee Hall, Mumbai and at Ravindra Bhavan, New Delhi, comprised largely fibreglass and wood sculptures of familiar objects which critic Ranjit Hoskote described as ‘highly stylised, phantasmagoric fairground images.’ Consanguinity (2003) In 2003, the Bose Pacia Modern in New York opened the Habitat Visual Arts Center in New Delhi [4] where Shetty exhibited his major solo Consanguinity.

[8] Anthropomorphised objects formed the core of the show with bleeding trumpets, snapping scissors in a bathtub and eyeballs encased in glass jars.

Eight Corners of the World, focused on the dynamic cosmos of domestic interiors [22] and was one of Shetty's darker works, several elements of this complex installation suggest death.

[4] The repetitive movements of the animated constructions on display, combined with a medley of sounds, especially of flowing liquids and the mostly murky lighting created a world [22] where the human figure was conspicuous by its absence.

Drawing on Asian theologies, the six drops of the work's title refers to six enemies of the creative self – lust, anger, greed, delusion, pride and envy.

His suite of installations highlights the intertwined fates of the human, inhuman and non-human forces in a world that constantly negates the presence of death.

The assemblages suggest and embed traces of urban processing as the city itself serves as the artist's studio while the museum is infused with the performative qualities of the street.

Addressing domestic preoccupations and the concept of movement, the show was characterised by duality- the teacup signifying the concerns of the present, while a sinking constellation refers to the transient nature of it all.

[34] the pieces earth took away, (2012) Shetty appropriates the notion of tradition and pairs it with recurrent themes in his practice-that of artifice or fabulation, to create five-part installation to the act of mourning.

[35] The work in the show bears references to the thirteen days of mourning in Hindu Rituals as well heightens the contrast between the eternal cycle of reincarnation and the linear ephemerality of a domestic experience.

Each bears an interpretation of a single line of poetry – “Bahut kathin hai dagar panghat ki,” by Amir Khusrau, a celebrated 12/13th-century courtier, Sufi mystic, and musician.

[37] 2018 Shoonya Ghar – Empty is this house, Unlimited, Art Basel, Basel, Switzerland 2017 Shoonya Ghar, Al Serkal, Dubai, United Arab Emirates Shoonya Ghar, Dr. Bhau Daji Lad, Mumbai City Museum, Mumbai, India 2016 Shoonya Ghar, National Gallery of Modern Art, New Delhi 2015 Mimic Momento , Galerie Daniel Templon, Brussels who must write these lines , GALLERYSKE, Bangalore 2014 every broken moment, piece by piece , GALLERYSKE, New Delhi 2012 The pieces earth took away, Galerie Krinzinger, Vienna 2011 Listen outside this house, GALLERYSKE, Bangalore Between the teacup and a sinking constellation, Galerie Daniel Templon, Paris 2010 this too shall pass, Dr Bhau Daji Lad Museum, Mumbai The more I die the lighter I get, Tilton Gallery, New York 2009 Untitled, Galerie Daniel Templon, Paris Six Drops, GALLERYSKE, Bangalore 2008 Leaving Home, Gallery Krinzinger, Vienna Saving Skin, Jack Tilton Gallery, New York 2006 Love, GALLERYSKE and Bodhi Art, Mumbai 2005 Eight corners of the world, GALLERYSKE, Bangalore Shift, a collaborative architectural installation with Shantanu Poredi and Manisha Agarwal, Philips Contemporary, Mumbai Party is elsewhere, Jamaat Art Gallery, Mumbai 2004 Statics, Chemould Gallery, Mumbai 2003 Consanguinity, Nature Morte, Bose Pacia Modern at the Habitat Visual Arts Centre, New Delhi 2001 For Here or To Go Installation at the Fukuoka Asian Art Museum, Fukuoka 2000 Lone Boat River Song, Spike Island, Bristol 1996 Paintings, Max Mueller Bhavan, Mumbai 1995 Paper Moon, Pundole Art Gallery and Framji Cawasjee Hall, Mumbai Paper Moon, Ravindra Bhavan, New Delhi 1991 Spirit of India, Holland Art Gallery, Rotterdam, The Netherlands