1947 Solo exhb., Bombay Art Society, Bombay. 1950 Exhb.,
Charles Petrass Institute of Foreign Languages, Bombay.
1958, 61, 62, 67, 69 Exhb., Galerie Lara Vincy, Paris.
1958, 76, 97 Exhb., Jehangir Art Gallery, Bombay. 1959-60,
62, 68 Exhb., Galerie Dresdnere, Montreal. 1962 Exhb.,
Lanyon Gallery, Palo Alto, California. 1963, 68 Exhb.,
Dom Gallerie, Dusseldorf. 1969, 76, 84, 88, 90 Exhb.,
Gallery Chemould, Bombay. 1968 Exhb., Tecta Gallerie,
Dusseldorf. 1974 Exhb., La Palette, Trouville. 1975
Exhb., Galleria Matuzia, San Remo. 1976, 79 Exhb., Stavanger
Kunstforening Gallery, Norway. 1977, 87 Exhb., La Tte
de l Art, Grenoble. 1982 Exhb., Galerie Loeb, Berne.
1985 Exhb., Galerie Pierre Parat, Paris. 1991 Exhb.,
Galerie Eterso, Cannes. 1997 Exhb., NGMA, New Delhi.
1999 Exhb., Apparao Gallery, Madras and Art 54 Gallery,
New York. 2001 Mindscapes 1945-50, Delhi Art Gallery,
New Delhi. 2003 Manifestations, organised by Delhi Art
Gallery, World Trade Cente
Asia Society, New York. Baroda Museum & Pictorial
Gallery, Baroda. Bibliotheque Nationale, Paris. Jehangir
Nicholson Musuem. National Centre for the Performing
Arts, Bombay. Musee National d Art Moderne, Paris. National
Gallery of Modern Art, New Delhi. Roopankar Museum of
Fine Arts, Bharat Bhavan, Bhopal. Delhi Art Gallery,
1946 Silver Medal, Bombay Art Society, Bombay. 1948
Gold Medal, Bombay Art Society, Bombay. 1948 Invited
by Sheikh Abdullah to visit Kashmir. 1950-53 French
Govt. Scholarship, cole Nationale des Beaux Arts, Paris.
1956 He was the only foreign artist to achieve the distinction
of Prix de la Critique, Paris. 1962 Invited to teach
at the University of California, Berkley. 1981 Awarded
Padmashri, Govt. of India. Fellow, Lalit Kala Akademi,
New Delhi. Awarded Kalidas Samman, Govt. of Madhya Pradesh.
2004 Lalit Kala Ratna, Lalit Kala Akademi, New Delhi.
Leaving the country with the dilemma of the national,
Raza moved to a model for liberation and inner contemplation.
Working out an indigenous symbolism, he has journeyed
a long distance away from his early works that were
direct extracts from life. His restless energy was contained
later in his self-styled transcendental Bindu that has
become synonymous with Raza, and for him the connective
point between the body and the soul, between living
in Paris and belonging to India. Perhaps each phase
of Razas evolution is equally significant, and almost
inevitable in his arriving at a truth that he now acknowledges
as his final resolution and promise in art.
1962 Visiting Lecturer, Art Deptt. of Berkely, California.