The turn of the 21st century brought an increased allure to far West Texas. In the early 2000s, a new wave of cultural pilgrims sought spiritual enormity in Marfa, American minimalism’s base camp since Donald Judd had decamped there in 1971. The town is of Spartan simplicity, sitting in an expanse of the Chihuahua desert miles off the edge of the Chinati Mountains. Census numbers hover around 2,000 residents. This desert is a land of intrigue. Far from desolate, the arid environs are abundant with critters and grasslands. In 2003, a new viewing center for the famed ethereal mystery lights was built on U.S. 90, the stretch of highway that cuts through town. Just down this stretch of road, one encounters Marfa’s first non-collecting contemporary museum of art in a converted 1920s ballroom, aptly named Ballroom Marfa. Now celebrating its 20th anniversary, Ballroom has boosted the magneticism of Marfa, becoming a global destination at the pinnacle of platforming subversive ideas from artists such as Cecilia Vicuña, Isaac Resnikoff, and Liz Cohen.

On Wednesday, November 20th, Ballroom celebrated their two decades at the Cathedral of St. John the Divine on New York’s Upper West Side with actor John Early as the master of ceremonies. The avant-garde spirit of Marfa was transplanted into an entanglement of opulence and eccentricity. Ballroom’s legacy could be seen in many shapes throughout the room. Native Marfan and the evening’s honoree, Leo Villarreal, created an installation projecting flecks of light which weightlessly spooled up the cathedral’s pillars onto the arch of Rafael Gustavino’s famed terracotta tile dome. Glowing fractals orbited into the shape of the Germ of Life. In attendance were a selection of some of the hundreds of artists the institution has hosted since its inception. Guests were seen sporting western-style accessories with their Manhattan best, like fringe and cowboy hats paired with tailored suits and gowns. Homage to the town itself shone on the menu with savory masa cakes and, for dessert, a date pudding from Marfa’s epicurean crown jewel, Cochineal. Champagne glasses at each seat were filled with a few ounces of Casa Dragones tequila, aiding the lively crowd in a sing along to “Deep in the Heart of Texas” led by a cast of Broadway performers, all from the Lone Star State.

In addition to the ephemeral event, to commemorate the milestone anniversary, Ballroom released an extensive anthology and archive called Ballroom Marfa: The First Twenty Years via Monacelli Press. The 320 page volume features stories from artists, curators, and community builders like Terry Allen, Mel Chin, Agnes Denes, Loie Hollowell, Leo Villareal, Hubbard/Birchler, and Graham Reynolds, among many others. The book uses archival imagery of posters, photographs, and inserts to showcase the multidisciplinary breadth of work Ballroom has exhibited with expansive detail.One of the early flagship shows being Optimo, curated by Alexander Grey; primed for the times entering a new millennium centered on the theme of optimism showing works by Martin Creed, Forcefield, Adam Pendleton, Takashi Murakami, and more. Critical dialogue on the interaction with the land and community unfolds in a myriad of works by designers and artists including Haroon Mirza, Nance Klehm, and rafa esparza. Perhaps the most recognizable work to be released through Ballroom is Prada Marfa by Elmgreen & Dragset, an imitation storefront sits on a baron stretch of road with a backlit sign Prada sign above front windows displaying a small curation of merchandise, which plays with the beauty of contradiction with camp commercialism and scarcity of the land. Studded in the pages are three inserts of newsprint zines, named Ballroom Beat, which highlight Ballroom’s robust music programming, including the revered music festival Marfa Myths.

Ballroom has continued its mission to bolster the community of Marfa by using its ever-growing tendrils to welcome the most exciting artists of our time, increasing the cultural magneticism of the rural enclave. The institution’s focus remains on furthering local growth and incubating progressive conversations that disrupt the norm. One thing remains to be true through the years—all eyes are still on Marfa.

You can purchase a copy of Ballroom Marfa’s anthology Ballroom Marfa: The First Twenty Years here.