The walls of Max Mueller Bhavan Bombay, which carried the painted panels for Malani’s Medea installation functioned as an enlarged accordion book in an inversion of this relationship. For, here it was paintings responding to the broken, organic auto-narrative of the colonized Medea that were the ‘content’ of the book. From being a repository of knowledge that serves the purpose of history from the dominant group in society, the book here was made into the carrier of the experience of the colonized and the subjugated, manifest in an inchoate rendering of experience over space and time. And this rendering of experience came from many directions. From a pair of panels that referred directly to the riot-hit city, the images led on in associative relays over a panorama that straddled the gamut of human conditions in a discontinuous narrative that offered viewers the opportunity to construct their own interpretations.

From the essay " Nalini Malani;The Medea Project and Beyond" by Chaitanya Sambran

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