Opinion
The Call of the Desert: Chronicle of the Marfa Invitational Open
Marfa has always had a mystical quality: a beacon in the West Texas desert where cinematic history, minimalist heritage, and radical creativity converge. But this spring, the town took on an even more transformative role: it became the epicenter of one of the most ambitious and inclusive exhibitions Texas has ever seen: the Marfa Invitational Open. I was honored to be selected as a curator and juror alongside Michael Phelan, founder and director of the Marfa Invitational. I took on this responsibility with humility and a deep sense of commitment.
More than 600 artists from across the state responded to the call. Painters, sculptors, photographers, textile and conceptual artists — they all submitted their work. After months of careful deliberation, we selected 165 artists whose pieces would make up a salon-style show at the famed Saint George Hall. More than an exhibition, it was a statement: of the immense artistic talent of Texas, of the power of inclusion, and of art as a form of community.
The curatorial vision was bold but clear: to represent the contemporary art landscape of Texas in all its richness and diversity. From the border of El Paso, from the urban energy of Houston to the artistic strength of Dallas, each region was part of this collective tapestry.
What followed was simply magical. 160 of the selected artists arrived in Marfa. Not for the press or the prestige, but for each other. There was a palpable energy, a shared commitment to creativity and community that transcended ego and artistic genre. Under the vast desert sky, we were not competitors. We were collaborators.
Erizos fronterizos, Ray Smith
Sculptor Ray Smith, a Texan legend discovered in the 1980s by Larry Gagosian, presented three monumental works that glowed in the evening light, drawing people in like magnets under the red desert sunset. A few steps away, Lighthouse, a luminous sculpture by Korean-Texan artist Anese, stood like a serene guardian. It was not made of bricks, but of the longing for home, of the idea of refuge, softly illuminating in the desert wind.
And then, the movement. Charismatic artist and performer Beth Coffey, also known as @DancinAustin, led the community in a spontaneous dance: a gesture of joy and liberation under the open sky, embodying the spirit of Marfa: wild, inclusive, alive.
Marfa has always been more than a dot on the map. It's where Liz Taylor, James Dean, and Rock Hudson filmed Giant. Where Donald Judd turned minimalism into a religion. Today, it's home to Richard Prince's recent solo exhibition with Max Hetzler Gallery and Christopher Wool's triple show. But what happened during the Marfa Invitational Open was different. It was about the many, not the few. It was about visibility, inclusion, and collective expression. It was about Texas — in all its complexity, strength, and beauty.
Lighthouse, Anese.
As someone who has dedicated his life to collecting, curating, and supporting contemporary art around the world, this moment in Marfa reminded me of something profound: that the true power of art lies in its ability to unite. That when we embrace collaboration, as Rauschenberg did, we not only create better art, we create better communities.
To all the participating artists, my colleagues, curators, and the people of Marfa: thank you. This wasn't just an exhibition. It was a movement. And its glow will continue to shine, long after the desert winds change.
Cristopher Wool
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