For centuries, across the worlds, artists have struggled to invent new techniques to perfect their articulation, which in turn has changed art and its relation to the viewer. In the course of art history technology has served as a useful aid to develop innovative methods for making art. For long the utilitarian notion of technology did not clash with the metaphysical or intuitive notions of art. But in modern times the reproduction technology has raised questions concerning authenticity and originality of an artwork. In the present transitory times the digital technology is continuously redefining art and the manner in which the art/audience response circuit has undergone a paradigm shift.  The present paper attempts to delineate a capsule account of the confluence between art and technology in general and discuss how Indian contemporary artists engage the art/technology interface in their art practice.

The paper seeks to investigate the moments of convergence, intersection, or interface between image and text in visual arts and how such interventions redefined art and how it called for a renewed response from the audience.

The paper attempts to locate the women artists of India whose work is reflective of gender representation in particular and informed by feminist concerns in general.

The education system is one of the most crucial concerns of the present world order. And especially the challenges that Hajni tries to address are even more pressing today as it may have been in the past. That is to draw certain equilibrium between the idealistic position and the factual reality. To strike a harmonious chord between the classical definitions and the status quo. To negotiate the thin line between utopias and dystopias.