As a socio-political, feminist artist, who has witnessed the generational effects of India’s partition, Pritika Chowdhry has devoted her art practice to examine traumatic geopolitical events. In 2007, on the 60th anniversary of the division of British India, Chowdhry started the Partition Memorial Art Project. It uses art to tell the story of how a border was hurriedly drawn on religious lines, and comprises anti-memorials, which are sculptural installations that intentionally question public monuments dealing with colonial massacres, declarations of independence and the suppression of independence. The ongoing site-specific, research-based art project interrogates the role of public monuments in the formation of collective memory, urging people to look at the many truths that make up a historical event. “The anti-memorials, which are quietly provocative and temporary, incorporate visceral materials, and create experiential environments where viewers can be vulnerable with unbearable and difficult memories,” says Chowdhry, who chooses, for instance, to explore sexual violence against women in war, something that the original memorials do not represent.