- 2005 Triveni Art Gallery, New Delhi.
- 1996 Jehangir Art Gallery, Mumbai.
- 2006 Collector's Stop, Art Gallery, New Delhi.
- 2004 Bajaj Art Gallery, Mumbai.
- 2003 Army Navy Art Gallery, Mumbai.
- 2003 Jehangir Art Gallery, Mumbai.
- 2003 Harvest 2003, Arushi Art Gallery, New Delhi.
- 2002 Lalit Kala Academy, Rabindra Bhawan, New Delhi.
- 2001 AIFACS Art Gallery, New Delhi.
- 2000 Son-At-Lumiere Art Gallery, Mumbai.
- 1998 Nehru Center Art Gallery, Mumbai.
- 1997 Devlalikar Art Gallery, Indore.
- 2006 National Art Camp, Rajouri, J&K
- 2006 Prarambh, All India art camp, Shimla
- 2006,04 Kala Rang-Kala Sang, Gwalior
- 2005 International Kala Parv, Ujjain.
- 2004 Natinoal Woman Art Camp, Patni Top, J&K.
- 2004,02,01,00 Rashtriya Kala Parv, Ujjain.
- 2001 National Painting Camp, Chitrakoot.
- 2001 AIFACS All India Youth Camp, New Delhi.
- KESHAV MALIK says
"Madhu Sharma and A K Sharma make up a spiritually
entwined art team. This entwinement can be read in their
oils on canvas. The Indore based couple appear to draw
sustenance from the culture-rich soil of middle India.
Perhaps, like Kalidasa, their creative being prospers
on the strains and vibrations of distilled eros. Like
a peepal or banyan trees separating branches, so too
does their genre form unions. The point of departure
being the point of return.
In certain of Madhu Sharma's works we see such vegetal
or organic human tree like forms. Transmutation it is,
I mean an imaginative one.
A K Sharma's 'Blue Magic's with their collage cut-out
like paper boats too bank on duos, and which by treatment,
become duets of colorful gestures, between maidens as
well as the musing young. The world of both artists
has in its vision, the animating spirit of a life-bearing
eve. It is benign not malignant as the public spaces
are, of these break-neck times.
The gestures and postures of these painters, thus are
feminine as still other images are in keeping with a
good bit of the earlier ethos of this culture. And perhaps
indeed they even go as far back in spirit as those of
the images observed in the Ajanta caves. The temperament
of the works is mellow, as if to harmonize opposites.
The works are of sensuous rejoicing and of mutuality.
The manner may well have been teetered into sentimentalism,
but the two tide over the eventuality. Implicit in their
works is the possibility of passion graduating to compassion,
the expression of tenderness for all life. Problem is
how sheer creaturely instinct may be alchemized into
the unselfish love for all living beings without exception
So Sharma's genre is at the very epicentre, from where
it all beings. Ah a kindly eye ! If in these works we
observe the curving downy shadows of cool graceful bodies,
they imply love that loosens our defensiveness.
These artists are venturing into the exciting labyrinth
of the self as theirs is much more than a sensous dalliance."