'Sankho Chaudhuri used and encouraged the use of the formal tools of Cubism to tackle body–space relationships, and to develop an idiom for pedestal sculpture. This role of cubist-constructivist
design, once entrenched, conditioned the very notion of sculpture at Baroda for the next twenty years. Experimentations and play with of the negative and positive, of convex and concave volumes, equivalents in Cubist terms, gave the sculptors of Baroda endless permutations to mould, cast, carve, or shape. In the flush of this adventure in modern art at Baroda, modernist proselytization through Cubist design was also used as a process of orientation, to bring young middle-class students from the Gujarati small town or village into the communication system of international codes of forming: constructing, carving or modelling.’
- Nilima Sheikh