Gupta and Sudarshan Shetty. Hoskote has also written a monographic essay on the Berlin-based artists Dolores Zinny and Juan Maidagan. As cultural theorist As a cultural theorist, Hoskote has addressed the cultural and political dynamics of postcolonial societies that are going through a process of globalisation, emphasising the possibilities of a 'non-western contemporaneity', "intercultural communication" and "transformative listening". He has also returned often to the theme of the "nomad position" and to the polarity between "crisis and critique". In many of his writings and lectures, Hoskote examines the relationship between the aesthetic and the political, describing this as a tension between the politics of the expressive and the expressivity of the political. He has explored, in particular, the connections between popular visual art, mass mobilisations and the emergence of fluid and fluctuating identities within the evolving metropolitan cultures of the postcolonial world, and in what he has called the nascent "third field" of artistic production by subaltern producers in contemporary India, which is "neither metropolitan nor rural, neither (post)modernist nor traditional, neither derived from academic training nor inherited without change from tribal custom" and assimilates into itself resources from the global archive of cultural manifestations. Hoskote has also speculated, in various essays, on the nature of a "futurative art" possessed of an intermedia orientation, and which combines critical resistance with expressive pleasure. He writes that "the modern art-work is often elegiac in nature: it mourns the loss of beauty through scission and absence; it carries within its very structure a lament for the loss of beauty." In a series of essays, papers and articles published from the late 1990s onward, Hoskote has reflected on the theme of the asymmetry between a 'West' that enjoys economic, military and epistemological supremacy and an 'East' that is the subject of sanction, invasion and misrepresentation. In some of these writings, he dwells on the historic fate of the "House of Islam" as viewed from the West and from India, while in others, he retrieves historic occasions of successful cultural confluence, when disparate belief systems and ethnicities have come together into a fruitful and sophisticated hybridity. Hoskote, in collaboration with his wife, Nancy Adajania, has focused on transcultural artistic practice, its institutional conditions, systems of production and creative outcomes, and the radical transformations that it brings about in the relationship between regional art histories and a fast-paced global art situation that is produced within the