Foy Nissen, photographer and pioneering Mumbai historian, observed, “Badri didn’t get the recognition he deserved because he refused to do what several others did to please the collectors. No one at that time was treating the past as a language to express the present Indian situation, something Badri did at great financial loss to himself.” In an unprecedented examination of Badri Narayan’s artistic genius, this monograph attempts to unveil his raison d’etre as one of the most exigent of the Indian moderns.