View India is part of an exhibition series that Landskrona Foto initiated in 2014, and which presents photography from countries that are not so well known to the Swedish public. Previous exhibitions in the series have focused on, among others, Chile, the Czech Republic and Turkey. A book is also produced for each exhibition. When I got the assignment to be curator and editor for View India in 2017, I started by inventing earlier exhibitions and publications on Indian photography. Considering the size of the country and the fact that photography was introduced early in India very little has been done. It is not surprising given the strong focus on Europe and the United States that characterize the established photo-history writing. One of the most important contributions is the exhibition and book Where Three Dreams Cross: 150 Years of Photography from India, Pakistan and Bangladesh, which I had the privilege to see when it was displayed at the Fotomuseum Winterthur in the summer of 2010. During the preparations for View India, three important presentations of Indian photography were made that I also visited: Illuminating India at the Science Museum in London 2017, Houston Fotofest 2018 had India as theme, and a special installation of the collections at Center Pompidou in Paris was dedicated to photography from India. To complement these manifestations, I decided that View India would have a different and more limited focus – the works would not be older than five years and preferably from the last years, and the contributors would be young (born 1980 and later) and not yet belong to the photographers and artists from India who already had an international career. In order to carry out the project, it was necessary to collaborate with someone who had deep and wide knowledge of the contemporary photographic scene in India, and the curator and photo historian Niyatee Shinde was associated with the project as a co-curator. We traveled together and had meetings with young photographers in New Delhi, Goa, Mumbai and Bangalore. There were some names we already agreed on, but we also met a large number invited by Niyatee Shinde and through her extensive network, as well as by the ones we met who recommended other photographers whose work we were also looking at. Indian photography has a strong documentary tradition and several did their own projects depicting important issues in today's society (they often financed their work by assignments for NGOs and news media), but what we also encountered – especially in Bangalore – was a completely different type of works. These are photographic projects that are either pronounced subjective or have a clear conceptual orientation that in different ways examines photography in a post-photographic media landscape, which expands to other lens-based practices. The selection in View India therefore contributes to broaden the image of Indian photography and clearly shows that it is part of a global photographic culture (which it has always been in a sense). Since the nineteen participating photographers live and work in India – that was a criterion we had decided – their work also conveys different aspects and experiences of Indian society today. With regard to the book, we have chosen to make a publication that highlights the photographers and their work by providing a great deal of space for pictures, and also interviewing each participant and asking questions about their work, the context in which they work and their role models and ideas about photography. In addition, the book contains lengthy interviews with five key people in Indian photography, which provide an insight into how the institutional and critical landscape looks and works. To be disseminated in an international context, the book is in English and the publisher is Koenig Books in London. In conjunction with the exhibition, a symposium was also held in collaboration between the Valand Academy, the Hasselblad Foundation and Landskrona Foto. Instead of focusing on Indian photography, we chose to invite three of the photographers in the exhibition and two people participating in the book, as well as a number of people based in Gothenburg, to present works under the theme: Post-Photography: Histories, Geographies and Contemporary Challenges.