Kaimāttam is a Malayalam word for exchange, transfer, or something passing from one hand to another. The exhibition takes that word as its premise: what happens when an inheritance carried through song, rhythm, gesture and memory - the vocabulary of Baul practice - passes into another material, paper and paint.Paban Das Baul's paintings return again and again to a handful of recurring images: a stone from where he grew up, recast across his "Divine Stone" works; Bodey Pagla, a wandering ascetic he met on the road through rural Bengal; a figure he calls Mister Babu; three or five maids. None of these repeat so much as they are remade - each appearance a new form of an old encounter, never quite the same image twice.The exhibition's own title carries a small version of the same exchange: a Malayalam word, chosen for a Bengali Baul, shown in Bombay.About the artistPaban Das Baul is a renowned Baul musician who has lived in France for several decades. Alongside his music, he has painted since the 1980s - a decades-long parallel practice much less widely known than his music. His visual work found an early respondent in the printmaker Krishna Reddy, who wrote about it for a 2005 exhibition; his paintings have since been shown in Paris, New York and Kolkata.Kaimāttam opens in Mumbai and intends to travel on.The threshold interventionTheresa Joseph, a typography and visual artist working with Malayalam script, has been commissioned to create a small, spatially distinct intervention at the threshold of the exhibition - a pause before entering, not an explanation, illustration or translation of Paban's paintings.Her own relationship to Malayalam began the same way: she first encountered its letters as shapes on walls, signs and posters, the script undecipherable to her, and only recognised the letters, then words - as language later as an adult. Kaimāttam remains a solo exhibition of Paban Das Baul's work.