Pushpamala’s recreations of colonial ethnographic photographs, popular prints, and commercial films “dismantle” the original image as an “ideological project” of a capitalist economy promoted by the nation-state. Her amazing embodiment of Abanindranath Tagore’s painting Bharat Mata is a “politico-ethical resuscitation” of an ascetic-looking mother figure from an early moment of nationalism that was “crowded out” a hundred years later by a more muscular form of Mother India that marks “the ascendency of Hindutva accompanied by India’s entry into a globalized world economy”