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Uploaded on Jun 10, 2011
Srinivas Krishna's participatory installation My Name Is Raj playfully references the aspirational desires embodied in Indian commercial photography. A wall of portraits drawn from Indian photo studios testifies to a common phenomenon of 20th-century India, in which members of the burgeoning Delhi and Bombay middle classes sought to impress friends, potential employers or a possible bride's parents by having photos taken of themselves garbed as doctors, lawyers or other respected professionals; the photo studio, in effect, becomes a place to assume a new possible persona.