As the French critic Nicolas Bourriaud wrote, Subodh Gupta’s work is concerned with “cultural precarity.” His main preoccupation remains his native region, Bihar – a poor and miserable state in eastern India. Gupta’s work is concerned with unfortunate social outcasts, and is composed of the most basic objects, such as kitchen utensils. These steel objects have become Gupta’s identifying signature. According to Bourriaud, however, in an Indian context these simple objects are ironically associated with prestige and sophistication; their shiny surfaces have nothing in common with the sleek surface of contemporary neo-pop culture. Gupta’s work thus sets up a serious trap in the gap between two different cultures: it relates to a world of labor and production, yet presents it as one of commerce and consumption; it is rooted in a realm of goods and various wares, yet points to the infatuation with commodities in a “glocal culture.”