In a landmark celebration of artistic legacy and narrative power, Dhaka Storytellers hosted a monumental group exhibition titled The Story of Art from February 8 to 13, 2025, at Aloki Greenhouse in Dhaka. Curated by Syeda Adiba Hussain, the exhibition brought together 28 of Bangladesh’s most celebrated artists, spanning multiple generations, disciplines, and visual languages.
The show was a convergence of voices—each artwork a story, each artist a storyteller. True to the spirit of its organizers, The Story of Art unfolded as a multi-dimensional narrative, embracing the diversity, complexity, and emotional weight of Bangladesh’s artistic heritage.
“We wanted to create more than just an exhibition,” said curator Syeda Adiba Hussain, also the co-founder of Dhaka Storytellers. “This is a homage to the visual history of our country. It’s about tracing our journey through line, texture, color—and above all, memory.”
From the iconic strokes of Rafiqun Nabi to the lyrical abstractions of Monirul Islam, the exhibition featured artists whose names are synonymous with the evolution of modern Bangladeshi art. The show included works by celebrated painters, printmakers, and sculptors such as Hamiduzzaman Khan, Abdus Shakoor Shah, Shahid Kabir, Shahabuddin Ahmed, Farida Zaman, and Jamal Ahmed—each of whom has played a pivotal role in shaping Bangladesh’s art scene.
Contemporary stalwarts like Mohammad Eunus, Kuhu Plamondon, Ranjit Das, and Rokeya Sultana added layered expressions through experimental compositions and printmaking traditions, while voices like Ivy Zaman, Ahmed Shamsudohha, Sheikh Afzal Hossain, Muniruzzaman, Kanak Chanpa Chakma, and Vinta Karim brought bold statements and regional influences into the fold.
The exhibition also showcased the emotive minimalism of Mohammad Iqbal, the surreal detailing of Anisuzzaman Anis, and the philosophical gestures of Mukti Bhowmik. Younger names like A H Dhali Tomal, Azmeer Hossain, Shyamal Sarker, Tejosh Halder Josh, Shahnoor Mamun, Hasura Akter Rumky, and Asma Akber further expanded the dialogue, showing how new generations are reinterpreting form and identity through fresh lenses.
The venue itself—Aloki Greenhouse—played an integral role in shaping the viewer’s experience. Set in a lush and tranquil space in the heart of the city, the greenhouse offered a light-filled, serene backdrop that echoed the organic storytelling motif of the exhibition. Moving through the space felt like reading a visual anthology—each wall a chapter, each canvas a page. From figurative paintings filled with folkloric tales to conceptual installations
confronting socio-political realities, The Story of Art succeeded in offering viewers a panoramic view of Bangladeshi art and the stories that have defined its path.
Curator Hussain’s curatorial approach was sensitive yet bold. By placing veteran artists alongside younger, experimental voices, she constructed a non-hierarchical framework that emphasized continuity over chronology. The works were not arranged by age, genre, or medium, but by thematic resonance—resulting in spontaneous visual dialogues between past and present.
In keeping with Dhaka Storytellers’ broader vision of impact, The Story of Art was also an exhibition with a conscience. A portion of the proceeds from sales will be donated to five schools and a college in Sylhet, helping fund educational programs and resources for students in underprivileged rural areas.
“Storytelling isn’t just about words or images,” said Hussain. “It’s also about actions. With this show, we wanted to extend the story beyond the gallery walls—into classrooms, into futures that can be shaped by learning.”
This philanthropic angle underscores the organization’s commitment to making art not only accessible but also socially meaningful. In an industry often seen as elitist, Dhaka Storytellers is carving a niche for art that educates, uplifts, and gives back.
The exhibition marked a turning point for the local art community, drawing collectors, critics, students, and art lovers from across the country. Workshops, panel discussions, and guided tours were also held during the weeklong event, creating platforms for knowledge exchange and public engagement.
Perhaps the most powerful aspect of The Story of Art was its emotional resonance. In a rapidly changing cultural landscape, it offered viewers a sense of grounding—a reminder of who we are, where we’ve been, and where we could go. It was not just a show of aesthetic brilliance but also one of identity, resilience, and hope.
As one visitor eloquently put it, “This is not just an exhibition. It’s a living archive of Bangladesh’s artistic soul.”
With The Story of Art, Dhaka Storytellers has set a new standard for cultural programming in the country—one that is inclusive, intergenerational, and socially responsive. And through it, a timeless message emerges: that art, at its best, doesn’t just reflect life—it shapes it.
