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Tracing Khanna’s distinctive vision of abstraction, the publication explores the influences of his youth in India, life in post-war Britain and fascination with the natural world. Rarely seen paintings from the 1960s and ’70s – including compositions inspired by the forests of Metz – are shown alongside large-scale works from the late 1960s to the 2000s that reflect childhood memories, diasporic identity, postcolonial politics and the lasting imprint of partition, with mixed-media works from the 1980s through to the 2010s highlighting Khanna’s innovative use of sand, spray, stencil and mark-making.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe first comprehensive reference on Khanna’s oeuvre, the publication features insightful contributions from art historians Dr Elena Crippa, Dr Alina Khakoo, Dr Aparna Kumar and Dr Cleo Roberts-Komireddi, along with a dedicated essay from Melanie Pocock, marking the twenty-fifth anniversary of \u003ci\u003eAstral Dance\u003c\/i\u003e (2001), Khanna’s monumental painting for the safety curtain of Birmingham Hippodrome. 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Miró’s art went through many phases, and its major features – his signs and symbols, his series of anguished peintures sauvages in the 1930s, his lyrical, poetic gouaches, his monumental sculptures and ceramics, his unprecedented use of poetic titles, and his attachment to nature and to the night – are discussed here by Roland Penrose, a friend of the artist for almost five decades.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eA brief epilogue by Eduardo de Benito, London correspondent of the Spanish art periodical Lápiz, illustrates the developments of Miró’s last years. 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