There’s something exhilarating about stepping into a space that feels completely fresh, where creativity is displayed with a bold sense of purpose. Method Delhi, founded by Sahil Arora, does exactly that. With its opening exhibition, Fresh Produce 2025, the gallery has announced its arrival in Defence Colony with a statement that is loud, bold, and utterly captivating.
Curated by Anica Mann, the show brings together over 30 artists from a staggering 750+ applications and is ongoing till 16th March.
Method thrives on experimentation, risk-taking, and pushing the boundaries of what contemporary art can be. Walking into the space, you don’t just see art, you feel it. The energy crackles in the air, a mix of youthful ambition and artistic defiance. The exhibition itself is chaotic in the best possible way. It refuses to be confined to one medium or one definition of “art.” From paintings to installations, audio-visual pieces to sculptures that defy convention, Fresh Produce 2025 is a reminder that art doesn’t have to be polite - it can be raw, unfiltered and gloriously rebellious.
There’s something deeply personal about the way this exhibition has been curated. Anica Mann, a historian, archaeologist, and curator with an eye for the unconventional, has shaped a show that feels less like an exhibition and more like a living, breathing conversation - one that doesn’t just demand attention but pulls you into its world.
What makes Method even more compelling is its philosophy of sustainability and mindful design. The collaboration with Reformary has turned the space itself into an artistic statement. Bio-plasters,
bio-cretes and nature-inspired materials don’t just create a stunning visual experience but also reinforce the idea that art spaces should be as conscious and innovative as the works they showcase. It’s a gallery that doesn’t just house art - it embodies it.
Standing in the middle of Fresh Produce 2025, you feel art breaking free - bold, untamed and alive. It stays with you, reminding you that creativity knows no limits. If the future of art has a heartbeat, it’s right here.
