Superblue, the experiential art venture cofounded in 2020 by Pace CEO Marc Glimcher and former Pace London president Mollie Dent-Brocklehurst, has landed in India for the first time, with a sprawling nine-work exhibition of immersive installations at Mumbai’s Nita Mukesh Ambani Cultural Centre (NMACC).
Titled “Second Nature,” the show opened at NMACC’s four-story Art House on July 3 and runs through January 10, 2027. Curated by Dent-Brocklehurst, the company’s cofounder and CEO, alongside head of curatorial Margot Mottaz, the show features large-scale installations by teamLab, A.A.Murakami, Simon Heijdens and Es Devlin, among others. The installations probe the increasingly porous boundaries between humans, technology, and the natural world, tackling digital identity, real-time data, and the passage of time.
While Superblue built its reputation on permanent, ticketed venues of its own, like those in Miami and London, “Second Nature” arrives as a collaboration with an existing institution. “It’s not a Superblue space; it’s not a Superblue operation. It’s not permanent,” Dent-Brocklehurst told ARTnews. “It fits the model of Margot and me being invited to curate an exhibition that uses the themes and the artists seen in Superblue Miami.”
Dent-Brocklehurst said she initiated the project herself, approaching NMACC after visiting the venue while traveling in the region. The conversation began roughly two years ago and, after several proposals, narrowed from a single-artist presentation to a group show. Mumbai, she argued, was an unusually good fit: None of the participating artists had been meaningfully shown in India before—teamLab had appeared at an art fair, but never with a major installation—and the country’s dual reputation for deep cultural literacy and technological sophistication made it “a kind of double win.”
She was also mindful of not overwhelming a first-time audience. “Given that none of [the artists have] been shown in India before, I didn’t want to bring an exhibition that felt too alien—too much like a spaceship,” she said, describing the roster as artists “whose work, although multilayered, has an accessible entry point.”
An installation view of Es Devlin’s Screenshare (2025) at “Second Nature” at the Nita Mukesh Ambani Cultural Centre.
Courtesy Superblue
Most of the works are adaptations of existing pieces rather than new commissions, though Devlin’s contribution, Screenshare (2025), was reworked specifically for NMACC. Its monumental screen is constructed from 365 physical sketchbooks documenting 25 years of the artist’s process; at the film’s end, visitors are invited to take a page home, gradually dismantling the installation itself. Elsewhere, teamLab reimagines an 18th-century painting by Ito Jakuchu across a wall of light-scattering rhinestones, and A.A.Murakami’s New Spring (2017–ongoing) releases mist-filled “blossoms” that burst on contact with skin.
Mounting the show was, by Dent-Brocklehurst’s account, a logistical marathon. The installation ran about a month—short by Superblue’s standards but the longest NMACC had ever undertaken. Certain components of one teamLab work could not be imported due to import restrictions and had to be sourced and rebuilt within India, requiring the teams to “skirt around some really complex technological things.”
Early returns have been strong, according to Dent-Brocklehurst, who said that the show has been drawing over 1,000 visitors a day since opening—“huge for a space that size.”
The Mumbai project also marks a new chapter in Superblue’s evolution. When the company launched in 2020 as a joint venture backed by Pace and Laurene Powell Jobs’s Emerson Collective, it announced ambitions to open experiential-art centers across the US, Europe, and Asia. By late 2022, however, both Glimcher and Emerson Collective had stepped back from their original roles amid cost overruns, boardroom infighting, and a wave of high-profile departures, ARTnews reported at the time. Its temporary London space closed after about a year, leaving the Miami flagship as the company’s sole permanent venue.
While Dent-Brocklehurst noted that Superblue has done similar partnerships throughout its history, it does appear that the NMACC link-up could point the way towards a leaner, partnership-drive future, a path that continues to grow the audience for experiential art without costly overhead and capital-intensive real estate.
