Every time I entered the Indus Gallery in Bath Island, I was struck by the strong presence of Imam Sahib, as Ali Imam was popularly known. He sat in the small room at the entrance, watching over all who visited, whether they were collectors or art students. He would warmly greet each person and guide them through the exhibition. It was as if art infused him with energy¾ even during times of illness, when he had moved his bed into that room, he persisted in engaging with visitors in conversation.

Ali Imam’s influential legacy is diverse and deep. Upon his return from England, he dedicated the first four years (1966 to 1970) to developing and implementing a modern art curriculum at the Central Institute of Arts and Crafts in Karachi. During this period, he also recognized that Modernism could only thrive if there were a platform to connect collectors and artists. To realize this vision he established the Indus Gallery in 1970, which was pivotal in the development of the nascent art ecosystem of Karachi. It has yet to be examined as a vital model for an open and flexible institutional space, ideally suited for consolidating art in developing economies. At Indus Gallery, Imam Sahib showcased all the titans of Pakistani Modern Art and crafted a path for fresh talent. Few people realize that he was the first to recognize the independent voices of women artists and bring them together in a group exhibition. This marked a turning point in how their talent was perceived; fueled by this momentum, many of them collaborated as a collective force throughout the 1980s and 1990s, ultimately becoming prominent artists.

His friendship facilitated FN Souza’s annual winter visits from New York City, during which he created art at the Gallery while staying there. This was how Souza was introduced to Karachi, leading to his artwork entering local collections. In fact, that period, characterized by his cityscapes, should be referred to as Souza’s Karachi Period. I once walked in to meet Ali Imam, and saw M.F. Husain completing his Karbala mural. Ali Imam graciously introduced us, and I was captivated by how effortlessly the barefoot artist managed the scale of the work. Both of these pioneers of Modern Art were friends of Ali Imam’s brother Raza, an artist who also played a crucial role in the Modern Art Movement of South Asia. These iconic moments in art history illustrate how Ali Imam became a bridge, enabling art to spark conversations about shared epistemic connections. Ali Imam never lost sight of his vision of mainstreaming Modern Art and its sustainability. Not only did he hold regular exhibitions, but every Sunday afternoon he brought together artists, poets, writers, journalists, art critics and potential collectors. They entered into lively debates on the new idiom that was slowly being de-mystified and with time, an unforgettable synergy was created. These groups spawned a cohort of collectors and supportive journalists who both informed and influenced their readers.

At the gallery’s first location in P.E.C.H.S, Ali Imam’s studio was a small room over the garage that could be accessed by a metal staircase in the main gallery room. The smell of pigments and linseed often wafted into the gallery whenever the door was open. The Indus Gallery was nothing like a white cube temple of commodified art but a space where Ali Imam’s daily life, art, knowledge, talent and acquisition converged with ease. I would often drop in after picking my sons from school to catch a show and would sometimes find Ali Imam serving his children lunch in the kitchen adjacent to the gallery. He would casually step out and start talking about the show. Shanaz Imam’s job involved traveling, so Ali Imam took the kids, home and the gallery effortlessly under his wing.

He inspired those around him because, when in his presence, one could feel his unwavering dedication to art; there was no holding back. This tireless and selfless commitment resulted in both profound struggle and eventual success. Many prominent art collections can trace their origins back to Indus Gallery. Aftab Tapal, who initially sought guidance from Ali Imam to hone his painting skills, soon found himself captivated by the allure of art acquisition, ultimately abandoning his artistic ambitions. Today, he boasts one of the most significant collections of Modern Art and has become a close friend to many artists. When Wahab Jaffer’s family lost their businesses due to Bhutto’s nationalization policies, he found himself with time on his hands and joined Ali Imam’s small group of students. He continued to paint and exhibit his work while simultaneously developing an extensive art collection.

USA-based doctors Shireen and Afzal Ahmed frequently visited Ali Imam in search of art for their home. He would guide them to artists’ studios, enabling them to explore a wider selection and discover their personal tastes and preferences. Their collection now stands as one of the most remarkable compilations of Pakistani art in the United States, and they continue to collect contemporary pieces with great enthusiasm. Recently, they have also showcased their collection at the South Asia Institute, which they established in Chicago.

There was so much to absorb from him on multiple levels; it wasn’t solely about art but also about societal values and a deep respect for art and artists. With unwavering conviction and courage, he defended freedom of expression, even after witnessing friends and peers face brutal repercussions. During the oppressive regime of General Ziaul Haq, Ali Imam organized a ‘flash show’ of Nagori’s resistance paintings, which had been banned in Islamabad. It was also within the walls of the Indus Gallery that I encountered Salima Hashmi’s poignant paintings depicting the massacre of Palestinian refugees at the Shatila and Sabra camps in Jordan.

His foresightedness allowed him to think about the future while simultaneously enhancing the energy of the present. Ali Imam’s commitment, generosity, knowledge, and passion was unparalleled. He is a revered mentor who has helped thousands of art professionals seize opportunities to build and strengthen the art ecosystem of Pakistan.

Title Image: Ali Imam at M F Hussain’s show at Indus Gallery c. 1990s