Gupta's work has evolved in interesting new directions since his return to India. Evolving out of his long-term interest in the history of Delhi, Gupta photographed older parts of the city (that is, Old Delhi) for the series, Tales of the City (2004). Some of the images, such as Diwan-i Khas lyrically convey the beauty of ancient monuments, while others record bustling commercial areas.

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He also has done two series interpreting the lives of children resident at the NAZ Care Home in New Delhi for women and children living with HIV and AIDS: A Time to Love (2004) and Imagining Childhood: Living with HIV in New Delhi (2006). He conceives these as part of a larger project, and he intends to continue to photograph these children over the course of several years. Concerned with protecting the privacy of the children, he avoids revealing their identities in the photographs, often presenting back and partial views of them. He also has made extensive images of their environment.

To counter not only the invisibility of gay life in India but also the lack of attention to gay children in virtually all cultures, Gupta has also begun another project, which will interpret the circumstances of growing up gay in India.

Conclusions

From the beginning of his career in the arts, Gupta repudiated the conventional representation of homosexuals as "perverted objects, fixated with the penis" and sought to depict gay men in relationship to their diverse life experiences. Although often autobiographical in origin, his pieces resonate with a wide range of viewers because they are structured in an open-ended fashion.

Seeking to counter the dearth of images of minority gay men and also to promote queer culture in India, he has created such works as Exiles, which give visibility to individuals and communities that have remained invisible for too long. In the Trespass series, Homelands, and numerous other projects, he has explored the complex interactions of sexuality with many other personal and communal identity factors, including race, social class, geographic location, and health status.

Gupta's current project on queer childhood in India promises to develop queer art in bold new directions.

Gay and lesbian artists of the African Diaspora have recently begun to explore issues specific to gender and sexuality; often relying on self-portraiture, they address homophobia and racism as well as desire and longing.

In response to the AIDS epidemic, a number of activist groups, including Gran Fury and the NAMES Project AIDS Memorial Quilt, have used art as a means to raise awareness about the epidemic.

Since the rise of the homosexual emancipation movement three decades ago, a handful of Canadian artists have confronted issues of gay and lesbian sexuality in their work.

Contemporary Art, which designates new currents in art since 1970, is identified with postmodernism; during this period an art addressing gay and lesbian identity emerged.

The queer community has used documentary film to resurrect historical memory and to permit the marginalized to bear witness, as well as to build an image base that reflects our diversity and counters distorted representations.

The dominant religion of modern India, Hinduism is no longer as tolerant of same-sex sexual relations as it seems to have been in the past.

Indian thought towards same-sex eroticism and gender variance was more tolerant in the past than it is today.

Not only is sexuality celebrated in Indian art, but many of India's gods also consider gender to be a fluid affair, sometimes manifesting as androgynes and sometimes switching gender altogether.

Post-Stonewall gay male photography merits recognition for its contribution to fine art, documentation, photo-journalism, and advertising, as well as erotica.

Throughout much of history, the nude male figure was virtually the only subject that could be used to articulate homoerotic desire in publicly displayed works of art, as well as those works of art intended for private "consumption."

British performance artist and photographer Tessa Boffin was the first British lesbian artist to produce work in response to the AIDS epidemic.

In British law, Section 28 of the Local Government Act, enforced from 1988 until 2003, prohibited the promotion of homosexuality and teaching the acceptability of homosexuality as a "pretended family relationship".

One of the most important black photographers of the late twentieth century, Rotimi Fani-Kayode explores important themes of racial and sexual identity.

Filmmaker, artist, and cultural critic Isaac Julien is the most prominent member of a new wave of black artists and filmmakers involved in examining black and gay representation.

Contemporary Indian artist Bhupen Khakhar has earned an international reputation for paintings that are explicitly homosexual in theme, but that also address universal human needs.

Although he does not employ the idiom of identity politics, Hanif Kureishi frequently gives gay men, lesbians, and bisexuals significant roles in his works.