Life in law is often demanding and stressful, says Nakul Sachdeva, but he finds a sense of calm in art. It’s a way for him to slow down and take a momentary step away from an otherwise hectic professional life, immersing himself into the creative side of his personality. His journey into art collecting began quietly, with the sole aim of bringing home the kind of art that he knew he would enjoy looking at for a long time. For Sachdeva, collecting has always been a process led by his heart, for the simple pleasure of living with art that he loves. As the Indian art market gains traction, his philosophy remains crystal clear: buy the art you love and let it bring you joy. Everything else, he feels, is incidental.

“My collecting journey started a decade ago, roughly in 2015-16. But I purchased my most significant artwork much later, in 2021,” he says, adding, “Looking at it from another angle, every purchase right from 2016 has been significant as it has added to my journey of collecting thus far. My primary aim of collecting was to display and enjoy art.” As a dispute resolution advocate with a gruelling schedule, art has been a vital anchor in his life—the point where chaos ends and serenity begins. He says, “Taking a break from work to enjoy the whole process of collecting, including attending shows, exhibitions, auctions and fairs, and reading about the artist, indeed works as an escape route.”

Acquiring artworks has always been an instinctive decision for Sachdeva—he has never sought out a piece merely for its investment potential. “I collect art to put up on my walls and enjoy it, so the decision to buy is always based on that objective. Having said that, the price point does make a difference,” he says.

The growing inclination of some collectors to buy art solely as an investment is not something Sachdeva endorses. “There are other pure capital assets like equities and precious metals for investment purposes. I treat art as something that is meant to be enjoyed, rather than purchasing it for investment. I find that the monetary value, while important, is secondary.”

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The market is no longer led only by Modern Masters; it is increasingly being shaped by Contemporary names whose works combine institutional relevance, market depth and a strong visual identity.

Among the standout Contemporary artists is Anish Kapoor, who reclaimed the top spot in the segment with a turnover of ₹31.1 crore at auction in 2025. His sustained market strength reflects the global appeal of his sculptural and conceptual practice, which continues to attract serious collectors. Bharti Kher and Anju Dodiya also feature prominently, underscoring how women artists are gaining stronger visibility in the auction space.

Nataraj Sharma has also emerged as an important name, with auction performance that reflects the steady rise of artists whose work has matured within the contemporary market over time. Alongside him, artists such as Subodh Gupta and Jitish Kallat continue to remain central to the broader Indian art conversation, supported by institutional recognition and collector interest. Their presence signals how Contemporary art is becoming a more stable and trusted category for buyers.

What is especially notable is that the segment is benefiting from greater transparency, stronger valuation discipline and the rise of online auctions. This has expanded access for younger collectors, many of whom are entering the market with more research and confidence than previous generations. As a result, Contemporary art is no longer seen as a speculative side category, but as an essential part of the Indian auction ecosystem.

The segment’s growth is likely to continue, with more artists from this group playing a central role in shaping the market in the coming years. With the democratisation of access and a broader appetite for new voices, Contemporary Indian art is emerging as one of the most dynamic areas in the country’s art economy.

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Growing up surrounded by the vibrant canvases of Masters M.F. Husain, B. Prabha, and Hemendranath Mazumdar in his family homes, Anshuman Mohta developed an innate appreciation for art in his earliest years. It’s fair to say that basking in the glory of great artists invites you into a world where art is not just present, but central. “Whenever I would visit a friend’s home, a beautiful painting or sculpture would always catch my attention, and I could recognise some artists’ works by just looking at them from a distance. I always had an eye for art, and, in a way, it called out to me. My first purchase was a Paresh Maity that I bought in 2011,” he says.

THE ART OF DOING BUSINESS
Passion and patience—these two words have guided Mohta’s quest to find the kind of art that speaks to his soul. He firmly believes that collecting the ‘right’ art, much like building a solid business or enterprise, requires time. “Unless you’re passionate about what you do, you’re not driven—the same goes for art. You must go the extra mile to find good quality works.”

Similarly, Mohta feels that an enviable art collection can only be built over time. He says, “Some businesses take time to blossom and there’s a gestation period before you break even. An art collection, too, must be built over time, and you need to be patient in finding the right works.”

Being exposed to art from a young age has another advantage—it has influenced the way Mohta looks at leadership and creativity in business. “It has encouraged me to think out of the box as artistic activities promote imaginative solutions and breakthrough ideas. Art has also helped foster innovation and helped me develop a new perspective by seeing challenges from multiple viewpoints.”

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The global art market is being reshaped by two powerful forces: the great wealth transfer and a multi-speed structure that rewards both trophy works and accessible lower-priced segments. In 2025, the market was not defined simply by volatility or contraction, but by a deeper recalibration in how collectors buy, what they value and where wealth is moving.

Over the next two decades, around $83.5 trillion is expected to change hands globally, with roughly $1 trillion tied specifically to art and collectibles. That shift is already visible in the collector base, where nearly three-quarters of active high-net-worth collectors now belong to the millennial and Gen Z generations. For these younger buyers, art is not a passive luxury; it is part of financial planning, identity and long-term wealth management.

This generational change is expanding the market beyond traditional blue-chip collecting. Younger collectors are drawn to Surrealists, women artists and contemporary figures such as Jean-Michel Basquiat, KAWS and Banksy. Female collectors are also playing a bigger role, spending significantly more on average than male buyers and building collections with a higher share of works by women artists. The result is a broader and more diverse market than the one dominated by Old Masters in previous decades.

At the same time, the art world is operating as a multi-speed market. While the top end remains powerful, sales above $10 million fell sharply in 2025 as sellers waited for better conditions. Yet the base of the market widened, with works under $5,000 accounting for the majority of contemporary auction results. The mid-market, particularly works priced between $50,000 and $1 million, is now emerging as the most stable and promising segment, supported by rising numbers of collectors with investable assets.

Technology and art-secured lending are further strengthening this shift, making collections more liquid and more closely tied to active capital. Together, these trends show a market that is no longer dependent on a few headline sales, but increasingly driven by breadth, access and generational change.

Read the full story in the premiere issue of LuxeTrope, on stands now.