In 1997, Jane Farver, the farsighted and much-loved American curator who died in April in Venice, put together an influential exhibition called “Out of India: Contemporary Art of the South Asian Diaspora” at the Queens Museum.

It was one of the few surveys of its kind in the United States up to that time, and Ms. Farver was careful to advertise it as the broad sampler it was: The oldest participant, Homai Vyarawalla, was born in 1913; the youngest, Navin Rawanchaikul, in 1971. In addition to India, countries of origin included Canada, Britain, Kenya, Tanzania and Thailand.

Now, almost two decades later, that exhibition’s successor, “After Midnight: Indian Modernism to Contemporary India, 1947/1997,” is at the same museum. This time all of the artists are South Asian-born. And while the time span is still broad, it’s more concentrated. It breaks down into what are basically two distinct shows, one of Modernist painting of the 1950s and 1960s, the other of multimedia work from the past few years, both defined by the traumatic event referred to in the exhibition title.