Ranjit Hoskote connects the impoverished momentum of the triennale to the loss of its original political drive, which resulted in institutional desiccation: “The India Triennial is an instance of a biennial lapsing into neglect and oblivion as a result of the loss of its original propulsive ideological fervor and the political commitment of its organizers, followed by a bureaucratization of culture, which causes the fossilization of an inspiring idea into a set of routine commissioning procedures traced over diplomatic treaties of cultural exchange between the host nation-state and other nation-states.” Ranjit Hoskote, “Biennials of Resistance: Reflections on the Seventh Gwangju Biennial,” in The Biennial Reader, eds. Elena Filipovic, Marieke van Hal, Solveig Øvstebø (Ostfildern, Germany: Hatje Kantz, 2010), 310. Nancy Adajania explores Anand’s establishment of the triennale in light of decolonization movements and the Non-Alignment Movement in “Globalism Before Globalisation: The Ambivalent Fate of Triennale India,” in Western Artists and India: Creative Inspirations in Art and Design, ed. Shanay Jhaveri. (London: Thames and Hudson, 2013), 168–85, http://www.academia.edu/7818709/Nancy_Adajania_Globalism_Before_Globalisation_The_Ambivalent_Fate_of_Triennale_India.