What does it mean to capture plurality, to inhabit and experience it? 'The Imaginary Institution of India: Art 1975-1998' grapples with this question. Its title is inspired by Sudipta Kaviraj's essay of the same name, exploring the complexities of conceptualising post-independence India as it tussled with its colonial past and confronted the knotty realities of secular democracy.

'The Imaginary Institution of India' encompasses strident works around urbanisation and

communal tensions and politics, and intimate pieces about the home, gender, sexuality as well as vernacular practices. It also considers how the political intersects and affects the domestic, and how ordinary life continues even under the most extreme circumstances. In this way, and in many ways, it speaks to our present moment.

Across some of the stand-out solo and curated gallery presentations, this year's edition of Frieze Masters reveals a similar focus on South Asian artists. As the international art world flocks to London in a couple of weeks, the notion of plurality feels particularly relevant. Many thousands of people will meet in the spaces we have curated, each bringing their own experience and understanding to the work, its narrative and its nuance.