In 2018, the artist achieved a new high in the auction market with the sale of Triptych 1929 (1929), offered in the Modern and Contemporary South Asian Art & Art of Pakistan by Bonhams, which concluded on 24 October 2018 at London, achieving a sale price of ₹1,54,46,096.25 ($191,351). This record marked a defining moment in the artist's market history, reflecting both the significance of the artwork and its reception within the broader art world.

In 2006, the artist achieved a new high in the auction market with the sale of Untitled (1932), offered in the The Indian Sale by Sotheby's, which concluded on 23 May 2006 at London, achieving a sale price of ₹49,41,504 ($108,557). This record marked a defining moment in the artist's market history, reflecting both the significance of the artwork and its reception within the broader art world.

In 1999, the artist achieved a new high in the auction market with the sale of Two Women (1935), offered in the Modern and Contemporary Indian Paintings by Bonhams, which concluded on 16 June 1999 at London, achieving a sale price of ₹5,13,817 ($11,897). This record marked a defining moment in the artist's market history, reflecting both the significance of the artwork and its reception within the broader art world.

In 2006, the artist achieved a new high in the auction market with the sale of Lovers (1936), offered in the Masterpieces & Museum Quality Series VI: With Rare Drawings and Books on Indian Contemporary Art by Osian's, which concluded on 01 March 2006 at New Delhi, achieving a sale price of ₹21,85,000 ($49,267). This record marked a defining moment in the artist's market history, reflecting both the significance of the artwork and its reception within the broader art world.

In 1995, the artist achieved a new high in the auction market with the sale of Woman with Mirror (1944), offered in the Indian Contemporary Paintings: Islamic Works of Art and Indian, Himalaya and South-East Asian Art by Sotheby's, which concluded on 19 October 1995 at London, achieving a sale price of ₹4,04,211 ($11,788). This record marked a defining moment in the artist's market history, reflecting both the significance of the artwork and its reception within the broader art world.

In 1996, the artist achieved a new high in the auction market with the sale of Woman Bathing (1945), offered in the Modern and Contemporary Indian Paintings: One Hundred Years by Sotheby's, which concluded on 08 October 1996 at London, achieving a sale price of ₹4,45,120 ($12,501.61). This record marked a defining moment in the artist's market history, reflecting both the significance of the artwork and its reception within the broader art world.

In 2003, the artist achieved a new high in the auction market with the sale of Women (1945), offered in the Fn-Fn: Figurative Non-Figurative Narration: Auctions of Indian Modern & Contemporary Paintings & Books by Osian's, which concluded on 27 November 2003 at Mumbai, achieving a sale price of ₹7,70,000 ($16,779). This record marked a defining moment in the artist's market history, reflecting both the significance of the artwork and its reception within the broader art world.

In 1997, the artist achieved a new high in the auction market with the sale of Seated Woman with Flowers (1946), offered in the The Indian Sale by Sotheby's, which concluded on 08 May 1997 at London, achieving a sale price of ₹5,00,827 ($13,988). This record marked a defining moment in the artist's market history, reflecting both the significance of the artwork and its reception within the broader art world.

Keyt’s paintings are altogether traditional: they are meant to function as screens within which diverse pictographic images are spread. He sometimes even introduces perspective of a primitive kind, but not sufficient to make his paintings ‘windows or stages’: the subjects are almost static, elaborate, and clearly delineated forms in which ancient symbols such as the eye, the sun, and the moon are part of the assemblage. By the very simplicity of his method Keyt has, as it were, set himself apart from all the trends by which contemporary art is classified. That and that alone I think is its greatest claim to greatness.

If he speaks the language of Picasso, he does so in a rich and meaningful idiom of his own.

In 2013, the artist achieved a new high in the auction market with the sale of Gopika Vastra Paharana (1952), offered in the South Asian Modern and Contemporary Art by Christie's, which concluded on 11 June 2013 at London, achieving a sale price of ₹1,00,87,173 ($171,185). This record marked a defining moment in the artist's market history, reflecting both the significance of the artwork and its reception within the broader art world.

Symmetry is not essential to my work, nor concealment, nor softness even: but curvature is, and roundness is, and if I must dislocate and rearrange my forms, the rearrangement must itself be in curves.