Summer 2024 Member News

MUSEUM OF NEW MEXICO FOUNDATION SUMMER 2024

Destination History

Exploring Our Historic Sites

Table of Contents

NEW MEXICO HISTORIC SITES

MUSEUM OF INDIAN ARTS AND CULTURE

MUSEUM OF INTERNATIONAL FOLK ART

NEW MEXICO MUSEUM OF ART

NEW MEXICO HISTORY MUSEUM

OFFICE OF ARCHAEOLOGICAL STUDIES

MUSEUM SHOPS

OUR MISSION

The Museum of New Mexico Foundation supports the Museum of New Mexico system, in collaboration with the Museum of New Mexico Board of Regents and the New Mexico Department of Cultural Affairs. The Foundation’s principal activities are fund development for exhibitions and education programs, retail and licensing programs, financial management, advocacy and special initiatives.

We serve the following state cultural institutions:

• Museum of Indian Arts and Culture

• Museum of International Folk Art

• New Mexico History Museum

• New Mexico Museum of Art

• New Mexico Historic Sites

• Office of Archaeological Studies

MEMBER NEWS CONTRIBUTORS

Mariann Lovato, Managing Editor

Carmella Padilla, Writer and Editor

Steve Cantrell, Writer

Jennifer Levin, Writer

Saro Calewarts, Designer

Cover: Aerial view of Lincoln Historic Site. Courtesy New Mexico Department of Cultural Affairs. Photo by Tira Howard.

Above: Dancers at a Los Luceros Historic Site Harvest Festival. Courtesy New Mexico Department of Cultural Affairs. Opposite: Photo by Saro Calewarts.

Dear Members,

In this issue, we help you plan a summer road trip to our state historic sites with a glimpse into their upcoming special events as well as some fascinating anecdotes.

I discovered a few facts I didn’t know, but what struck me most was how vital our rangers, educational interpreters and site managers are to the visitor experience. Their vast knowledge of and love for the ancient pueblos, abandoned military forts, house museums and memorials they care for will illuminate every step of your explorations.

As you know, Santa Fe’s own Burning Man, Zozobra, turns 100 this year. An exhibition celebrating his centennial birthday opens at the Palace of the Governors in August, with original sketches by his creator, the painter Will Shuster, as well as a famous fire dancer costume and a collection of community memorabilia. The New Mexico Museum of Art joins the party with a concurrent exhibition that will showcase various interpretations of Zozobra. My favorite is Old Man Gloom as a Cochiti storyteller.

Also, this summer at the Museum of Art's Vladem Contemporary will be the opening of Off-Center: New Mexico Art, 1970-2000, a five-part rotating exhibition featuring works by 150 artists, including Erika Blumenfeld, T.C. Cannon, Ramona Sakiestewa and Peter Sarkisian. With free admission for Museum of New Mexico Foundation members, you won’t miss a single installment.

Social justice takes center stage in Between the Lines: Prison Art & Advocacy at the Museum of International Folk Art, opening in August. The exhibition features artwork from formerly incarcerated artists alongside prison art from the museum's permanent collection, inspiring compassion for the creative lives of incarcerated people. Between the Lines also looks at the experiences of people in other institutionalized settings, including Native boarding schools and ICE detention centers, and is profoundly emotional.

Finally, I want to call your attention to a Museum of Indian Arts and Culture exhibition, Makowa: Native Skywatching in the Southwest, slated to open in spring 2025. The planning phase of this Indigenous astronomy exhibition is supported by a grant from the National Endowment for the Humanities. We at the Foundation welcome private support for exhibition development and educational programs.

Thank you for your generosity and your belief in the importance of our cultural partners. Have a great summer!

Sincerely,

Jamie Clements President/CEO

We at the Foundation welcome private support for exhibition development and educational programs. —Jamie Clements

Museum of New Foundation Trustee Kate Moss and her husband, Bob, have long been steadfast champions of New Mexico Historic Sites. In 2022, the two sponsored a plaque for the Gathering Circle at Los Luceros Historic Site, paying homage to the Tewa People of Phiogeh Pueblo, the ancestral inhabitants of the site.

"We wanted to honor the Tewa People of Phiogeh Pueblo, whose timeless wisdom teaches respect for nature," says Kate Moss. “The plaque showcases the poignant poem ‘Song of the Sky Loom,’ illustrating the Tewa tribe's deep connection to nature through a metaphorical loom in the sky.”

The Mosses also played a pivotal role as lead donors in the statewide Campaign for New Mexico History, directing their support to Los Luceros Historic Site. They are valued members of The Circles, Friends of Indian Art and Friends of History, providing crucial support for exhibitions and educational initiatives at many of our cultural institutions. Additionally, Kate Moss led the Foundation's Diversity, Equity, Accessibility and Inclusion (DEAI) Committee, and is the current chair of the Advocacy Committee. She also serves as board secretary.

Board of Trustees 2023–2024

OFFICERS

Frieda Simons, Chair

Cathy A. Allen,Vice Chair

Michael Knight, Treasurer

Kate Moss, Secretary

VOTING TRUSTEES

Allan Affeldt

David Arment

Nancy Baker

Julia Catron

Joe Colvin

Gwenn Djupedal

Rosalind Doherty

Diane Domenici

Greg Dove

John Duncan

Robert Glick

Carmen Gonzales

Pat Hall

Marilyn Harris

Susie Herman

Ruth Hogan

Peggy Hubbard

Edelma Huntley

Bruce Larsen

John Macukas

Christine McDermott

Dan Monroe

Patty Newman

Michael Ogg, M.D.

Dennis A. O’Toole, Ph.D.

Sara Otto

Sabrina Pratt

Natalie Rivera

John Rochester

Chris Ryon

Wilson Scanlan

Courtney Finch Taylor

Margo Thoma

Elmer Torres

Robert Vladem

Laura Widmar

David Young

Sandy Zane

ADVISORY TRUSTEES

Victoria Addison

Keith K. Anderson

Cynthia Bolene

Stockton Colt

Jim Davis

Joan Dayton

George Duncan

Kirk Ellis

Maria Gale

Carlos Garcia

Leroy Garcia

J. Scott Hall

Stephen Hochberg

Rae Hoffacker

Barbara Hoover

Kent F. Jacobs, M.D.

David Matthews

Helene Singer Merrin

Beverly Morris

Mark Naylor

Jane O’Toole

Michael Pettit

Jerry Richardson

Judy Sherman

J. Edd Stepp

Nancy Meem Wirth

Claire Woodcock

HONORARY TRUSTEES

Anne Bingaman

William Butler

Jim Duncan Jr.

John Marion

Eileen A. Wells

TRUSTEES EMERITI

Saul Cohen

Bud Hamilton

James Snead

Top: Museum of New Mexico Foundation Trustee Kate Moss. Photo by Saro Calewarts.

Opposite: Los Luceros Historic Site. Photo courtesy New Mexico Department of Cultural Affairs.

Immersive New Mexico History Lives at Our Historic Sites

Visiting New Mexico’s eight historic sites is a road trip north and south along El Camino Real de Tierra Adentro, and east and west on Route 66. From there, you’ll venture off the beaten path to follow in the footsteps of people who made and changed history. Statewide, the sites offer immersive cultural experiences you can’t get from a book or movie. Why not hit the road?

With the exception of the Taylor Mesilla Historic Site, which opens in 2025, all sites are open and free to Museum of New Mexico Foundation members year-round for self- and ranger-guided tours, arts and crafts activities, history presentations and hiking. Special events offer even more reasons to engage with and celebrate New Mexico’s rich, complex history. Opportunities to support education and public programming across all eight sites through a private gift via the Foundation also abound.

On the following pages, site directors and other staff members share their favorite historical anecdotes and experiences. Visit nmhistoricsites.org for event calendars and driving directions.

Los Luceros Historic Site

Los Luceros was established in 1703 as a ranch on the eastern bank of the Río Grande via a Spanish land grant, and pot sherds on the property date Indigenous presence to 1150. The ranch has a storied ownership legacy, changing hands many times before becoming a historic site in 2019.

Mary Cabot Wheelwright bought Los Luceros in 1923. She’s best-known for establishing the Wheelwright Museum of the American Indian in 1937, in Santa Fe, with Hastiin Klah, a Two-Spirit Diné (Navajo) medicine man and weaver. In the 1940s, they recorded and described 18 sacred Diné Great Star Chants in the Los Luceros Hacienda, the property’s oldest structure.

Many anthropologists in the early 20th century believed Native culture would soon disappear and that it was up to them to preserve its memory. “They were wrong—Native culture is doing just fine,” says Los Luceros instructional coordinator Rebecca Ward. “But it’s possible Hastiin Klah wanted to record the chants, just in case.”

However, because the chants aren’t meant to be heard by people outside the Navajo Nation, Ward says it’s possible that Wheelwright didn’t ask permission to record them. “She was an armchair anthropologist, not university trained,” Ward says.

Jemez Historic Site

The stone remnants of the 700-year-old village of Gisewa were once home to the ancestors of the present-day people of Jemez Pueblo (Walatowa). The Spanish established a Catholic mission there around the time the Pilgrims landed at Plymouth Rock, but the Walatowa people soon left the site and moved to their current home.

“The people from Jemez Pueblo believe their ancestors are still there, and they have a connection to them,” says Katrina Gallegos, regional manager for Jemez and Coronado historic sites. Staff teach the site’s rich history, but a robust calendar of demonstrations puts the focus on ongoing pueblo lifeways.

People from Jemez Pueblo believe their ancestors are still there, and they have a connection to them.

Instructional coordinator supervisor Marlon Magdalena, from Jemez Pueblo, is well-versed in site history; in 2005, he built a roof for the ancient kiva at Gisewa with his uncle, who was a ranger there. He also plays the flute and has incorporated information about the tribe’s history and craftsmanship into his lesson plans.

Interpretive ranger Brenda Tafoya, also from Jemez, is a potter from a well-known artist family. She grew up in the New Mexico art world and oversees securing artists to participate in the annual December Lights of Gisewa holiday event. She’s the first person that people meet when they come to the visitor center, where the Friends of Jemez Historic Site recently opened Towa Gifts, a shop featuring items made by Native artists from around New Mexico.

To support the New Mexico Historic Sites, contact Asya G. Beardsley at 505.216.1199 or Asya@museumfoundation.org.

Native dancers at Jemez Historic Site.

Photo by Tira Howard, courtesy New Mexico Department of Cultural Affairs.

Coronado Historic Site

Native peoples hunted wild game and gathered wild plants in the lush Río Grande valley. These ancient settlers constructed earthen dwellings on the terraces above the big river and farmed the flood plain below, joined by Indigenous travelers from what would become southern New Mexico, Arizona, Utah and Colorado. Together, they built the Village of Kuaua around A.D. 1300 —eventually constructing more than 1,000 rooms and 10 ceremonial kivas. Tiwa-speaking people lived there until the 1680 Pueblo Revolt, and then the Keres-speaking Tamaya took up residence for a time until moving to their current home at nearby Santa Ana Pueblo.

I’ve met families who told me they’re part Navajo and part Mescalero because their great-great grandparents met here.

In the 1930s, archaeologists looking for evidence of Francisco Vázquez de Coronado’s presence in the area dug into the ground and found an intact pueblo. How an exact replica was built on top of the city underneath during the WPA era is a fascinating tale of old-fashioned archaeological and anthropological methods. That story, of the people who lived at the site and their descendants, are brought to life by dozens of docents as well as expert speakers and presenters on Indigenous and Hispanic topics.

Coronado has the most active events calendar of all the historic sites, offering four guided tours a day, regular live music events, Ranger Read-Along at the Martha Liebert Public Library in Bernalillo and more.

Bosque Redondo Memorial at Fort Sumner Historic Site

The Diné (Navajo) and N’de (Mescalero Apache) peoples were forcibly removed from their lands and relocated to the Bosque Redondo Indian Reservation during the American Civil War. Hundreds of Diné died on the Long Walk, and more than 1,500 Diné and N’de died of starvation and disease on the reservation before they signed a treaty permitting them to leave in 1868. The Bosque Redondo Memorial was designed in collaboration with the Navajo Nation and Mescalero Apache Tribe with financial support from the Museum of New Mexico Foundation.

Regional manager Aaron Roth says archival documents indicate the military pitted the tribes against each other. He adds that the two very different cultures didn’t get along well at Bosque Redondo—but emphasizes that oral history is more nuanced. “In the last year, I’ve met three families who told me they’re part Navajo and part Mescalero because their great-great grandparents met here.”

Roth also questions the official record of November 3, 1865, when about 350 N’de escaped. “According to the archives, 200 horses were stolen from the Navajo corrals by the Apache. But it appears to me the Apache probably

Bottom: Sheep in corral at Fort Sumner Historic Site. Courtesy Palace of the Governors Photo Archives. Neg. No. 047631.

Top: Exterior of Coronado Historic Site visitor center and exhibition space. Photo courtesy New Mexico Department of Cultural Affairs.

had a deal with the Navajo, because it seems unlikely that 200 horses just disappeared. Navajo families have told me the nomadic Mescalero helped their ancestors escape, taking them into Mexico and circling back to their native lands when it was safe.”

Fort Stanton Historic Site

Fort Stanton is among the most intact 19th-century military forts in the U.S., but this complicated historic site has also been a tuberculosis sanitorium, a WWII POW camp and a women’s prison. The Ninth Cavalry, one of four racially segregated regiments known as the Buffalo Soldiers, was stationed there during the Spanish and Indian Wars. Several of the 88 buildings on the site date to the fort’s founding in 1855, although all buildings require preservation and development.

Dr. Paul M. Carrington was the Fort Stanton Hospital medical director from 1901 to 1912. He oversaw implementation of patient tents, a fresh-air tuberculosis treatment advocated by doctors before the invention of streptomycin, an antibiotic, in 1943. Other hospitals adopted versions of tent accommodations, including Santa Fe’s Sunmount Sanitorium.

“He [Carrington] conducted an influential study on the benefits of New Mexico's high desert climate in treating TB patients,” says Oliver Horn, regional manager for Fort Stanton and Lincoln historic sites. “Carrington—who suffered from TB himself, like many other caregivers—revealed that among the advanced cases at Fort Stanton, 12% were cured and another 27% significantly improved. The results were viewed as nothing short of a medical miracle at the time, published in newspapers across the country.”

Lincoln Historic Site

Lincoln is famous for one of the most violent periods in New Mexico history, when the frontier was ruled by gunslingers like Billy the Kid and Sherriff Pat Garrett, who killed the Kid. Visitors can explore the Old Lincoln County Courthouse’s exhibits that recount the Lincoln County War in 1878 and spend time in other preserved buildings.

The results were viewed as nothing short of a medical miracle at the time, published in newspapers across the country.

In the lesser-known Horrell War of 1873, the lawless Horrell brothers killed several Hispanic lawmen. Regional manager Oliver Horn highlights the heroics of Juan Bautista Patrón, who led the local militia that defended the community and helped drive the Horrells back into Texas.

“Patrón was born in Santa Fe and attended El Colegio de San Miguel— today’s St. Michael’s High School—and moved to Lincoln when his father established a store in town. His father was killed by members of the Horrell clan. Patrón emerged as a major leader in the community and organized

Top: Hospital at Fort Stanton Historic Site. Courtesy Palace of the Governors Photo Archives. Neg. No. 011678.

Bottom: Torreón at Lincoln Historic Site. Courtesy Palace of the Governors Photo Archives. Neg. No. HP2014.14.1725.

After the Union Army kicked the Confederates out of New Mexico, all these camels were roaming around.

local resistance against the Horrells,” Horn says. “Afterward, he took over his father's store and became the de facto town teacher, as well as an advocate for the building of a church, which didn’t happen in his lifetime. He was elected to the Territorial Legislature in 1877, and in 1884 a group of Texan cowboys—purportedly agents of the Santa Fe Ring—assassinated him.”

Fort Selden Historic Site

Fort Selden was established at the end of the American Civil War, and Indigenous farmers inhabited the land as early as 400 C.E. In 1598, the area was a campsite on El Camino Real de Tierra Adentro. Today, visitors roam adobe ruins and learn about frontier and military life.

“We have a photograph of General Douglas MacArthur from when he lived at Fort Selden. He’s about three years old and he has little ringlets in his hair,” says instructional coordinator Alexandra McKinney. “It’s such a contrast to the pipe-smoking general from WWII.”

MacArthur lived at Fort Selden from ages three to six, when his father, Arthur MacArthur, was a captain and post commander there in the 1880s. He wrote fondly of New Mexico in his memoirs, claiming he learned to ride a horse and shoot a gun at Fort Selden before he learned to read, and that he once met a camel there. McKinney explains that when New Mexico was briefly under Confederate control during the Civil War, Jefferson Davis imported camels from the similarly arid Middle East to assist in building the railroad.

“But the Confederacy only held in the Southwest for one year. After the Union Army kicked the Confederates out of New Mexico, all these camels were roaming around,” McKinney says. “Twenty years later, little Douglas MacArthur ran into one.”

Taylor-Mesilla Historic Site

Though not yet open to the public, the Taylor-Mesilla Historic Site is located on the mid-19th-century Mesilla Plaza. It was the residence of J. Paul Taylor, a well-known New Mexican educator and legislator, and his wife, Mary, a historian, writer, photographer and translator who grew up in a nearby border town. The Taylors lived on the Mesilla Plaza for 70 years, filling their home with New Mexican art and artifacts.

“Mary Daniels Taylor wrote the literal book on Mesilla,” says instructional coordinator Alexandra McKinney. “She’s instrumental in telling the story of this region.” A Place as Wild as the West Ever Was, published in 2004, is out of print. But Taylor also took thousands of photographs of local residents, the town and its celebrations and events, all of which are housed at New Mexico State University.

Bottom: Interior of the J. Paul and Mary Taylor House, ca. 1850, at Taylor-Mesilla Historic Site. Courtesy Palace of the Governors Photo Archives. Neg. No. 009591.

Top: Ruins at Fort Selden Historic Site. Courtesy Palace of the Governors Photo Archives. Neg. No. HP. 2007.20.435.

Jemez Historic Site

Coronado Historic Site

Albuquerque

Los Luceros Historic Site

Santa Fe Española

Bosque Redondo Memorial at Fort Sumner Historic Site

Socorro Truth or Consequences

Fort Stanton Historic Site

Lincoln Historic Site

Fort Selden Historic Site

Las Cruces

Taylor-Mesilla Historic Site

Los Luceros Historic Site nmhistoricsites.org/los-luceros 253 County Road 41, Alcalde Stroll apple orchards and visit churro sheep. Monthly birdwatching.

Sunday, September 22

Harvest Festival: Celebrate Los Luceros agricultural history with live music, dance and more.

Jemez Historic Site nmhistoricsites.org/jemez 18160 NM-4, Jemez Springs Mission church and kiva. Daytime and nighttime astronomy events. Monthly Sunday Fundays.

Sunday, August 11

Pueblo Independence Day: Morning half-marathon followed by festivities commemorating the 1680 Pueblo Revolt.

Coronado Historic Site nmhistoricsites.org/coronado 485 Kuaua Road, Bernalillo

Traditional pueblo gardening lessons. Children’s science days. Ecology talks. Native medicinal herbs trail talks. Summer star parties.

Saturday, October 19

21st Annual Fiesta of Cultures: The Friends of Coronado and Jemez Historic Site's fiesta features local arts and crafts vendors, food trucks, live music and more.

Bosque Redondo Memorial at Fort Sumner Historic Site nmhistoricsites.org/bosque-redondo 3647 Billy the Kid Drive, Fort Sumner Daily self-guided hikes and museum tours.

Saturday, June 15

Treaty Day: Commemorate the 1868 Diné departure from Bosque Redondo, featuring dances and cultural programs.

Fort Stanton Historic Site nmhistoricsites.org/fort-stanton 104 Kit Carson Road, Fort Stanton Monthly living history days. Flashlight tours.

Saturday Night Photographer Tours: Limited to 12—an incredible monthly opportunity for special site access.

Lincoln Historic Site nmhistoricsites.org/lincoln 1027 Calle de la Placita, Lincoln History lecture series.

Sunday, June 23

San Juan Day: Celebrate the San Juan Church with Catholic mass, history presentations.

Saturday–Sunday, August 2–3

Old Lincoln Days: Billy the Kid Pageant, historical reenactments, children’s activities.

Fort Selden Historic Site nmhistoricsites.org/fort-selden 1280 Fort Selden Road, Radium Springs Weekly ranger walks. Sunrise nature hikes.

Saturday, August 31

Garden Chile Harvest & Salsa: Cultivate chile from Fort Selden’s gardens and make your own delicious salsa.

Taylor-Mesilla Historic Site nmhistoricsites.org/taylor-mesilla Historic Mesilla Plaza, Mesilla Open to the public in 2025.

Spread: Fort Selden Historic Site. Photo by Tira Howard, courtesy New Mexico Department of Cultural Affairs.

Eyes on the Sky Exhibition Highlights Indigenous Astronomy

This past spring, as North Americans looked to the skies for a rare total solar eclipse, the Museum of Indian Arts and Culture was looking ahead to the spring 2025 opening of an exciting exhibition exploring Native astronomy through the lens of Indigenous communities.

Makowa: Native Skywatching in the Southwest follows the museum’s acclaimed longtime tradition of creating exhibitions led and informed by Native communities—from object selection and interpretation to narratives that bring an exhibition to life. The planning phase of the exhibition is supported by a $40,000 National Endowment for the Humanities grant. Private funding through the Museum of New Mexico Foundation is still needed to support interactive, in-gallery activities and engaging educational programs at the museum and beyond. These will connect visitors of all ages with the timeless traditions of Indigenous astronomy.

Makowa explores the significance of the sky and celestial bodies in the lives of ancestral and contemporary Indigenous cultures of the American Southwest. The interdisciplinary exhibition illuminates the connection between humanity and the cosmos across cultures and time, combining knowledge from anthropology, archaeology, history, art history, philosophy, astronomy, and Native American and Indigenous studies.

Showcased will be the astronomical practices and rituals of the New Mexico Pueblos, the Hopi, Diné (Navajo), Jicarilla Apache Nation, N’de (Mescalero Apache) and Tohono O'odham tribes.

The project draws on the museum’s vast collection of over 10 million archaeological artifacts, and 80,000 historic and contemporary objects— textiles, pottery, basketry, jewelry, paintings and more. To ensure proper representation and respect for these objects, exhibition curators are consulting a variety of Native scholars, community members and the museum's Indian Advisory Panel in their planning.

Maxine McBrinn, the museum's former curator of archaeology who provided the initial exhibition research, points to Indigenous peoples' sophisticated knowledge of astronomy. "Across cultures, people have looked to the sky for guidance, tracking the sun, moon, stars and constellations to identify planting and harvesting times or to predict animal migration patterns,” she says.

Object displays will be complemented by high-resolution, large-scale photographs, some of ancient rock art depicting the heavenly bodies, and

To support the Museum of Indian Arts and Culture, contact Lauren Paige at 505.982.2282 or Lauren@museumfoundation.org.

Opposite bottom: Allan Haozous Houser (Chiricahua Apache), Apache Devil Dancer, ca. 1934. Gouache on illustration board. Dorothy Dunn Collection, courtesy of the Museum of Indian Arts and Culture.

Melissa Benaly (Navajo), Moon Landing Pictorial Rug, 2001. Handspun wool, aniline dye, 66 ¼ x 91 ¼ in. Museum purchase funded by Drs. Norman and Gilda Greenberg, courtesy of the Museum of Indian Arts and Culture.

others showing how ancient buildings and roads at Casa Grande and Mesa Verde were aligned with the sun and the moon. Dynamic public programs that amplify Native voices will further enrich the visitor experience.

Across cultures, people have looked to the sky for guidance, tracking the sun, moon, stars and constellations.

Plans include a lecture series featuring Native astronomers, archaeologists, archaeoastronomers and other related scholars. A full suite of K-12 educational activities, including hands-on lessons exploring Native perspectives on the cosmos, will be offered for visiting school groups. A host of other opportunities for personal engagement with the night sky—such as telescope gazing, storytelling and star talks—is also in the works.

The museum is hoping to partner with New Mexico Historic Sites and other state museums on these and other programs and activities.

Telling Their Own Stories

In a 2022 article in Travel + Leisure magazine, writer Vivian Chung summed up the Museum of Indian Arts and Culture’s Here, Now and Always exhibition with these words: “Museums spark exploration, not endings.”

The museum’s Native Narratives Speaker Series, funded by the Gale Family Foundation, embodies that spirit. About once a month in the museum’s Kathryn O'Keeffe Theater, leading Indigenous voices in Native arts, culture and tribal heritage tell their own stories as they explore the exhibition’s themes of Cycles, Ancestors, Home and Community, Trade and Exchange, Language and Song, Art, and Survival and Resilience.

Past speakers have included Porter Swentzell (Santa Clara), who examined the 1680 Pueblo Revolt as “part of numerous and continuous acts by Pueblo peoples to oppose and overcome the imposition of colonialism.” Julie O’Keefe, lead Osage clothing consultant for the Oscar-winning film "Killers of the Flower Moon," discussed the film's role in raising awareness about the Osage Reign of Terror and the recent shift toward authenticity in how Natives are portrayed. And artist Rose Simpson (Santa Clara) discussed her mixed media works in relation to tribal identity, history and resilience.

Native Narratives will feature new speakers throughout the summer and is free for Museum of New Mexico Foundation members. Visit miaclab.org for details.

Prison Art

Rehumanizing the Incarcerated

The genesis of Between the Lines: Prison Art & Advocacy, opening August 9 at the Museum of International Folk Art, was a series of workshops held in 2017 by the museum's education team with degree-seeking students at Albuquerque's Metropolitan Detention Center. This impactful program was followed by similar collaborations in 2018 with Santa Fe’s ¡YouthWorks! and other organizations, fostering a community-driven exploration of mass incarceration’s ripple effects on family and community.

In 2023, museum educator Patricia Sigala and media specialist Chloe Accardi co-curated a small, interactive exhibition on the topic in the Mark Naylor and Dale Gunn Gallery of Conscience. Here, visitors shared their stories and, Accardi says, "the exhibition team integrated this feedback into the final exhibition we see today." It invites an expansive definition of imprisonment, incorporating perspectives from criminal detention centers alongside ICE detention centers, Japanese internment camps and other systems of internment.

Between the Lines seeks to rehumanize the incarcerated through the lens of creative authorship. The exhibition features more than 200 works of prison art from the museum’s permanent collection, alongside recently acquired pieces from local teachers, advocates and donors.

These works, says Sigala, "illuminate issues like recidivism, trauma and prisoners' rights. In an environment where you're reduced to a number, art offers a sense of self and connection, becoming a catalyst for change."

Among other art forms, the exhibition delves into the history of paño, or handkerchief drawings, typically in ballpoint pen or colored pencil. These were first created by illiterate Mexican prisoners in the 1940s to communicate with the outside world. The museum previously showcased this practice in a 1996 exhibition, Paño Art from the “Inside” Out

Award-winning New Mexico Chicano poet Jimmy Santiago Baca, himself once an inmate, describes the work in a spring 2024 El Palacio story, writing, “Paño Arte, prison art specifically, is a search for meaning and celebration of survival under the direst conditions of repression and brutality. This is the real stuff—grim, vulgar, untamed beauty."

John Paul Granillo, another former inmate whose paño works are on view, emphasizes art's role in healing, self-discovery and fostering hope. He is the chief of operations for Santa Fe ¡YouthWorks!, serving as mentor and inspiration for youth participating in education, employment training and job placement programs.

Accardi highlights the time-intensive nature of prison art. “It gives artists

To support the Museum of International Folk Art, contact Laura Sullivan at 505.216.0829 or Laura@museumfoundation.org.

Carlos Cervantes, a Santa Fe artist, community leader and activist, demonstrates a paper folding technique used by inmates to craft picture frames, wallets and other objects. Film still by Chloe Accardi, 2022.

Stories of Hope and Resistance

Exhibitions in the Mark Naylor and Dale Gunn Gallery of Conscience are known for tackling challenging subjects—from devastating natural disasters and the internment of Japanese Americans during World War II to HIV/AIDS and immigration.

Opening June 23, Amidst Cries from the Rubble:

something to focus on for hours and days on end,” she says. Among the various works on view from the museum’s collection is an eagle crafted from torn magazine pages made by Chinese refugees detained in a York County Prison in Pennsylvania. A purse made from gum wrappers by a transgender asylum seeker at New Mexico’s Cibola County Correctional Facility is also displayed. These and other creations showcase the resilience and resourcefulness of individuals within the system.

Between the Lines delves into the history of the infamous 1980 New Mexico State Penitentiary Riot. The series of videotaped interviews on view, Sigala explains, “broadens our understanding of the efforts to end mistreatment and inhumane conditions, including those that led to the 1980 riot."

A robust year of programming exploring exhibition themes includes gallery talks with artists and advocates and in-depth workshops with local youth and organizations. A film screening and panel discussion highlight the paño art form and changing attitudes around it, while communitycentered discussions about Native Boarding Schools and Japanese Internment Camps will speak to the exhibition’s broad definition of incarceration. Another program will consider the effects of restorative architecture and design in prison planning on the incarcerated.

Major support for Between the Lines and its related programming is provided by the Cielo Foundation Boulder, Deborah and Martin Fishbein Trust, Harvey and Elaine Daniels Family Fund, Mark Naylor and Dale Gunn, and Courtney and Scott Taylor. Additional support opportunities are available via the Museum of New Mexico Foundation.

Art of Loss and Resilience will feature large-scale color photographs and objects from war-torn Ukraine. Appropriating remnants of war— such as bullet and shell casings, helmets and ammunition boxes—the exhibition will explore how Ukrainians are coping with the daily trauma of death, loss and destruction that comes from their lived experience.

Items of war are reclaimed and reimagined as sites of human creativity by children, spouses, parents, injured soldiers and artists in a way that reflects Ukrainian cultural perspectives and folk art practices.

Laura Mueller, the museum's deputy director, co-curated the exhibition. She acknowledges the logistical challenges of curating objects from an active war zone, including acquiring visas for visiting Ukranian artists to participate in the exhibition and it public programs.

However, "as a storyteller at heart," Mueller says she felt compelled to share the story of hope and resistance expressed through these powerful contemporary folk art objects.

Generous funding for this exhibition has been provided by the International Folk Art Foundation, Friends of Folk Art and Mark Naylor and Dale Gunn.

Viva la Raza (Long Live the Race), pillowcase paño, artist unrecorded. Made at the New Mexico State Penitentiary, ca. 1984-1986. Museum of International Folk Art, courtesy of Stuart Ashman in honor of the talented inmates at the New Mexico State Penitentiary.

Love Letter

Three Pivotal Decades of New Mexico Art

Off-Center: New Mexico Art, 1970-2000, opening June 8 at the New Mexico Museum of Art Vladem Contemporary, examines an overlooked era of creativity. Curators Katherine Ware and Katie Doyle explain that “the show isn't a comprehensive history or a collection of greatest hits. Instead, it's a vibrant snapshot of New Mexico’s thriving art scene during those three decades.”

Organized in five rotations through May 4, 2025, the exhibition explores subjects of "Place" with such artists as T.C. Cannon, Betty Hahn and Agnes Martin; "Spectacle" with Miguel Gandert, Erika Blumenfeld and Peter Sarkisian; and "Identity" with James Drake, Janet Lippincott and Ramona Sakiestewa. Featuring 150 artists overall, Ware says, “It’s a who’s who of artists working in New Mexico after 1970.”

Each rotation showcases a breadth of artistic approaches, with no artist shown more than once. Ware says Off-Center "acknowledges the thriving art community of artists and artist families that were already here, represented by Dan Namingha, Lee Marmon, Roxanne Swentzell and Jerry West, among others.”

The influx of artists to New Mexico after 1970 wasn't random. Many, who Ware describes as "incomers," sought alternative lifestyles and were drawn to the back-to-the-land movement. Others honed their skills at the renowned art programs at the Institute for American Indian Arts and the University of New Mexico, while established artists came to teach or work.

Similar to the rush of artist-pioneers to the state in the late 19th century, this "second wave" was captivated by New Mexico's distinct qualities: breathtaking landscapes and rich cultural diversity. And by 1970, the region had developed a strong reputation for visual arts with established galleries, collectors, museums and art schools.

New Mexico also offered a stark contrast to the competitiveness of big city art scenes. Artists like Harmony Hammond, Ken Price and Judy Chicago found freedom from mainstream pressures, allowing them to experiment and forge their own artistic paths.

"New Mexico isn't the center of the art world, like New York, Chicago or Los Angeles,” Ware explains. “There's no single center here either. The art scene thrives in communities across the state, from Silver City and Galisteo to Albuquerque. It’s off-center."

This exhibition is significant, says Christian Waguespack, the museum’s head of curatorial affairs and curator of 20th-century art. "On view is a neglected part of New Mexico's art history. We have excelled at showcasing established artists, but Off-Center does justice to our entire collection."

To support the New Mexico Museum of Art, contact Alex Wilson at 505.216.0826 or Alex@museumfoundation.org.

T. C. Cannon, Washington Landscape with Peace Medal Indian, acrylic on canvas, 1976. Collection of the New Mexico Museum of Art, gift of Nancy and Richard Bloch. © Joyce Cannon Yi. Photo by Blair Clark.

The Vladem Contemporary’s vast, high-ceilinged galleries provide a perfect platform to display many large-scale works for the first time, some unseen until now even by the curators themselves. And now available in the museum archives are insightful oral histories the curators conducted with many of the artists on view. This adds valuable primary source material for researchers, says curator of contemporary art Alexandra Terry. "Art during this period was very conceptual, and who better to explain their work than the artists themselves?"

Off-Center and its affiliated public programs, including a lecture series, were made possible through private support via the Museum of New Mexico Foundation. Members of The Circles will enjoy a First Look exhibition preview on Thursday, June 6. A Member Preview for all members takes place Friday, June 7, where many of the exhibition artists will be in attendance.

Mark White, the museum’s executive director, sums up the exhibition. "Off-Center is a love letter to New Mexico's artists. It's a survey of both our permanent collection and many of the artistic developments that shaped the state's late 20th century art. It was, without a doubt, a pivotal moment in our artistic and cultural history."

A Shared History of Saints

Opening July 20 in the Plaza Building, Saints & Santos: Picturing the Holy in New Spain explores the role of saints in the Spanish Colonial empire in the Americas, a vast region encompassing modern-day Mexico, Central America and the American Southwest, between 1521 and 1821.

Following Rome's efforts to regulate sainthood in the late 16th century, the concept crossed the Atlantic, but transformed when it reached New Spain, where the Catholic Church enjoyed some autonomy from Rome. Over time, with the forced integration of Catholic religious practices and imagery in Indigenous communities, local saintly figures emerged.

Drawing on public and private collections from Mexico and the U.S., the exhibition showcases how images shape ideas of the holy. Paintings, sculptures and engravings were used to propagate, celebrate and venerate saintly figures and were often employed in official beatification and canonization proceedings. This long-standing tradition of connecting sanctity with visual imagery continues in the work of contemporary New Mexican santeros.

Saints & Santos is a planned traveling exhibition guest curated by Cristina Cruz González, a specialist in the visual culture of Spanish America at Oklahoma State University. A lavishly illustrated catalogue and a scholarly symposium will accompany the exhibition in Santa Fe.

“Curating Saints & Santos was an opportunity to acknowledge our shared history with Spain and Mexico,” says executive director Mark White. “It allowed us to collaborate with prestigious Mexican institutions, bringing together more historically-based artists than we normally exhibit, and to showcase the unique perspective with which New Spain approached sainthood.”

Charles Ross, Cosmic Rain, powdered pigment exploded onto paper with graphite, 1993. Collection of the New Mexico Museum of Art, gift of Sally and Wynn Kramarsky. © Charles Ross. Photo by Blair Clark.

Celebrating Gloom

A People's History of Zozobra

Every Friday of Labor Day weekend, Santa Fe’s beloved Zozobra goes up in flames. This fiery farewell to summer, embodied in a towering 50-foot marionette stuffed with slips of paper onto which we’ve scribbled our most pressing concerns, represents the release of the city’s pent-up anxieties and gloom.

This summer, in honor of Zozobra’s centennial burning on August 30, the New Mexico History Museum debuts Zozobra: The Fire That Never Goes Out, the first-ever exhibition examining the history of the so-called “Old Man Gloom” in the newly renovated Palace of the Governors.

As a shared experience, the ritual of Zozobra is a powerful binding force for the community—transcending age, background and social barriers. Initially conceptualized by the artist Will Shuster as a means of injecting a sense of play into the stoic observation of Santa Fe Fiestas, Zozobra dates to the painter’s first backyard burn of a much-smaller marionette in 1924. Inspired by Yaqui Indian (Mexico and Arizona) traditions of burning Judas effigies during Holy Week, the puppet’s name is derived from the Spanish word for "anxiety," perfectly capturing its purpose.

Beginning in 1926, Zozobra was burned publicly as part of the annual Santa Fe Fiestas. In 1964, Shuster transferred sponsorship of the event and rights to Zozobra’s image to the Kiwanis Club, transforming it into a major fundraiser for local children's charities and directing the specter’s negative energy to a positive social cause.

The burning of Zozobra might seem like a quirky spectacle to some, but the History Museum exhibition will provide historical context, exploring the event's origins, evolution and its significance to the community. “The historical and philanthropic aspects of the burning of Zozobra are given equal weight to the iconic aesthetics of Santa Fe’s favorite villain, expanding our understanding of what getting rid of gloom can really do,” says exhibition co-curator Hannah Abelbeck.

Co-curator Delaney Hoffman adds that the exhibition is “an important opportunity to continue the museum’s examination of the intersections of identity and place in New Mexico.” Among the objects on view from the museum’s collection are Will Shuster’s Zozobra sketches; the flaming red Fire Dancer hat worn by former New York City Ballet dancer and fire dance creator, Jacque Cartier, who performed the role for 37 years; and neverbefore-seen images from the Santa Fe New Mexican

Emphasizing the community impact of the event, the museum also hosted four drop-in days, or open calls for objects, encouraging folks to bring any ephemera that may be relevant to Zozobra. This turned up original

To support the New Mexico History Museum, contact Asya G. Beardsley at 505.216.1199 or asya@museumfoundation.org.

Zozobra, Santa Fe Fiesta, New Mexico, 1950. Photo by Henry Dendahl. Courtesy Palace of the Governors Photo Archives, Neg. No. 057747.

Opposite: Gloomies at the annual burning of Zozobra during Fiesta, Santa Fe, New Mexico, 1986. Pictured left to right are Anthony Lerouge, Steve Jimenez, Joe Valdez, Jojo Valdez and Art Valdez. Photo by Leslie Tallant. Courtesy Palace of the Governors Photo Archives, the Santa Fe New Mexican Collection, Neg. No. HP.2014.14.922.

Zozobra burning party invitations as well as objects created by community members, including piñatas, sculpture and Zozobra portraits.

“This exhibition could be considered a people’s history of Zozobra, centering the community’s creative output,” says Hoffman. Abelbeck agrees, saying, “By incorporating into the exhibition community submissions like memorabilia and stories, the museum furthers its mission of fostering public participation, highlighting the community's role in shaping and sustaining this tradition.”

Abelbeck and Hoffman say that Zozobra’s intangible, ephemeral nature—the object burns to the ground every year—makes it all the more important to preserve this cultural element for future generations. Kiwanis Club event chair Ray Sandoval concurs, saying, "As we celebrate Zozobra's 100th anniversary, we recognize the History Museum’s vital role in preserving this rich legacy, weaving with this exhibition a vibrant tapestry of cultural heritage within our community."

The New Mexico Museum of Art is mounting a concurrent, companion exhibition in the Plaza building, on view August 23 through December 2. Christian Waguespack, the head of curatorial affairs and curator of 20th-century art, notes the inclusion of a “fresh variety of styles and media not normally seen in the Plaza building,” including Zozobra as interpreted by artist Fritz Scholder, as a clay Cochiti storyteller and a Zozobra straw applique image.

Impacting Identitiy

The exhibition is an important opportunity to continue the museum’s examination of the intersections of identity and place in New Mexico.

"Word Is Out: Stories of Some of Our Lives" screens for free at the New Mexico History Museum on Friday, June 21. Made by gay filmmakers in 1977, this is the first feature-length documentary about lesbian and gay identity and had a large impact when it was released.

Presented in partnership with Santa Fe Human Rights Alliance as part of Pride Month, the film’s positive portrayal of 26 gay men and women was formative for LGBTQ+ people, catalyzing confidence in coming out and increasing overall community consciousness. As New York Times critic David Dunlop wrote in 1996, “Understated though it was, "Word Is Out" had a remarkable impact, coming at a time when images of homosexuals as everyday people, as opposed to psychopaths or eccentrics, were rare.”

New Mexican Peter Adair conceived and produced the film and was one of the directors. In notes to the film, he wrote, “In the 1970s when the modern gay movement was just beginning, our biggest problem was invisibility. Who homosexuals were was largely determined by straight people.” Unique to this screening is rare archival footage of several New Mexican interviewees that was not included in the final production and was digitized just for this event.

In 2022, "Word Is Out" was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically or aesthetically significant."

Educational Ambitions

Bridging Past and Present

For more than 30 years, the Office of Archaeological Studies Education Outreach Program has brought archaeology to life for New Mexicans of all ages and backgrounds. Through hands-on learning experiences, people dig deeper than textbooks and truly connect with the past.

With a new division director, John Taylor-Montoya, and new funding from the state legislature for OAS’s first full-time, permanent instructional coordinator, ambitious plans for reaching new audiences around the state are afoot. These are intended to build upon OAS’s longtime success in educational outreach, including as a twotime recipient of the Society for American Archaeology's Excellence in Public Education Award (in 2005 and 2012).

New Mexico boasts a rich archaeological legacy, from discoveries such as the Clovis and Folsom sites, to pioneering figures in the field like Adolph Bandelier and Edgar Lee Hewett, founder of the Museum of New Mexico. Uniquely, it is a state with a culturally diverse population. There are Native American communities on ancestral lands, in some cases for millennia, Hispano residents whose roots date to the initial colonists of 1598, and Anglo and other families who arrived over the Santa Fe Trail in the 1820s or by rail in the 1880s. Still others come in droves from all directions today.

“Archaeology bridges past and present, enabling people to connect with their heritage,” says TaylorMontoya. To that end, OAS tailors its offerings to different constituencies and audiences ranging from school children to museum professionals and community groups. Their educational tools include a traveling "touch and feel” tabletop museum offering a tactile experience of archaeological replicas; demonstrations and workshops in creating replica technologies; and curriculum resources for teachers.

New Mexico, the fifth largest state in the U.S, is largely rural with over 60% of the population living outside of major cities. Despite its vast size, between October of 2023 and March of 2024, OAS programs reached over 11,262 individuals statewide. In an effort to further extend its reach, OAS has committed to partnering with national parks, museums, libraries and tribal communities in all 33 counties at least once a year. Plans are also underway to strengthen relationships with the Museum of New Mexico's eight historic sites, many of which are located near rural communities.

“When we get our new instructional coordinator, I have ideas for where we want to go, like expanding our definition of diversity to include neurodiversity as well as cultural diversity," says Taylor-Montoya.

Visiting instructors familiar with working with deaf or blind students, for instance, can employ adapted teaching methods—such as tactile models,

To support the Office of Archaeological Studies, contact Lauren Paige at 505.982.2282 or Lauren@museumfoundation.org.

Visitors to the Office of Archaeological Studies' Center for New Mexico Archaeology observe historic pottery from the Museum of Indian Arts and Culture's archaeological collections. Photo by Saro Calewarts.

Opposite bottom: Steven Needle, an archaeological field technician for the Office of Archaeological Studies, conducts test excavations at the Santa Fe Botanical Garden. Photo courtesy OAS.

sign language interpretation and audio descriptions—that make archaeology engaging and relatable for these audiences. Also in its nascent stages is programming for naturally curious preschoolers. For these young students, seeing and touching objects, or sorting replica artifacts by size, shape or material, can spark a lifelong love of learning and history.

Archaeology bridges past

and present, enabling people to connect with their heritage.

In time, Taylor-Montoya sees even greater educational expansion on the horizon. He says that volunteers are key to reaching new audiences. “I would love to have folks with expertise or a background in education who are interested in donating time or volunteering for events,” he says.

Ensuring that every New Mexican has the opportunity to understand our state’s origins also requires new and ongoing funding. “Private funding through the Museum of New Mexico Foundation for specialists to assist OAS outreach staff with curriculum development and materials is important for these new initiatives,” he says.

Determining Time and Function

When did it happen? and What was it used for? According to Office of Archaeological Studies director John Taylor-Montoya, questions of dating and function are two of the most important topics that archaeologists work to answer.

The OAS Archaeomagnetic Laboratory is the only contract archaeomagnetic lab in the world uniquely equipped to answer the dating question through the study of ancient objects exposed to extreme heat, such as cooking hearths or adobe walls. Trapped inside these objects is a magnetic “fingerprint,” a vital clue for researchers trying to determine when humans might have interacted with them.

The lab is now in the process of acquiring a Kappabridge, which Taylor-Montoya says, “will vastly improve our research capacities by providing data that will answer the function question.” This data, he adds, “will, along with other clues found at archaeological sites, provide new insights into New Mexico’s culture and heritage.”

The lab boasts a nearly complete collection of over 51,000 North American archaeomagnetic samples and their associated magnetic data going back to 1964. Lab supervisor Shelby Jones is meticulously organizing, digitizing and researching these samples.

OAS is in need of private funding for Jones to shelve the samples and to maintain and upgrade the archaeomagnetic database. “Once fully organized, they will be available to international researchers,” she says.

Funding would also enable Jones to create “educational exhibits on magnetism installed in the hallway outside the lab, showing OAS's involvement and some of the fun things about magnetism.”

Treasures of Tonalá

Folk Art Shop Highlights Work of Mexican Ceramicist

A travel highlight, especially abroad, is discovering something so captivating you just have to own it, whether it's a memory-capturing photograph or, even better, a unique item you can take home and cherish daily.

Teresa Curl, vice president of retail at the Museum of New Mexico Foundation, recently experienced this firsthand when she encountered the work of award-winning, master Mexican ceramicist José Luis Cortéz Hernández. The best part? Visitors to the Lynn Godfrey Brown Shop at the Museum of International Folk Art can now share in Curl's experience by acquiring a piece of Mexican folk art and supporting an exceptional artist.

It was serendipity that brought Curl and Cortéz Hernández together. In May of 2019, while volunteering for the Friends of Folk Art’s annual Folk Art Flea, Curl learned about a Friends trip to the Feria Maestros del Arte, an annual show of juried artisans in Chapala, Jalisco, Mexico. Curl signed on, and it was on that trip that she first saw Cortéz Hernández’s work. She knew she had to own a piece and brought one home with her.

Fast forward to 2023, as Curl sought new treasures to showcase in the Folk Art Museum gift shop this summer. Instead of her usual U.S. trade show visit—to Atlanta or New York—she and Museum Shops buyer Kylie Strijek traveled to a wholesale craft show in Tlaquepaque, Mexico. They also made it a point to visit Cortéz Hernández’s studio in Tonalá, where, she recalls, “we selected a gorgeous collection of his barro bruñido clay pieces.”

Barro Bruñido, meaning "burnished clay," is an ancient Mexican pottery technique centered around the town of Tonalá. The quality of the region’s clay was prized as early as the 16th century and exported to Spain. Today, this labor-intensive art form is kept alive by only a few artisans. Its unglazed surface, achieved through meticulous stone burnishing by hand, is strikingly decorated with nature scenes and geometric patterns using local clays and oxides.

“Luis’ use of traditional techniques in creating contemporary works is so compelling,” Curl says. “You see vintage Tonalá pieces here in the United States, but rarely do you see new work, so I felt this trip provided a rare opportunity to showcase his work in Santa Fe.”

Vessel by Mexican ceramicist José Luis Cortéz Hernández.

Photo courtesy of the artist.

Endowment: Your Forever Gift

Contributing funds or property to the Museum of New Mexico Foundation to establish or give to an endowment not only benefits our partner cultural institutions today, it leaves a lasting impact for tomorrow.

Hear from some of our donors about the inspiration behind their legacy gifts:

Finding a cause to be passionate about is very fulfilling. Sustaining that cause through a legacy gift during one's lifetime provides an opportunity to truly experience the lasting benefit of your generosity. Our gift to establish an endowment supporting Contemporary Native Art has been very rewarding.

—William (Bill) and Uschi Butler

I was inspired to include the Girard Legacy Endowment Fund in my estate plans as my first experience in Alexander Girard’s world. Seeing "Multiple Visions" for the first time, was transformational. I fell in love with how this genius saw the world. It changed my life.

—Connie Thrasher Jaquith

Facilitating the continuation and enhancement of archaeological outreach to a broad sample of New Mexico students by establishing the Mollie Toll Endowment Fund is an apt way to honor Mollie’s love for science and nature.

—Wolcott Toll

For information about contributing to or creating an endowment, contact Laura Sullivan at laura@museumfoundation.org or 505.216.0829.

Ways to Give

MEMBERSHIP

Support the Museum of New Mexico Foundation in delivering essential services to our 13 partner cultural institutions while offering enjoyable member benefits.

THE CIRCLES

Participate in a series of exclusive events while providing leadership-level support.

CIRCLES EXPLORERS

Support and explore the art, culture and history of New Mexico through active, adventurous, and educational cultural excursions and experiences.

CORPORATE PARTNERS AND BUSINESS COUNCIL

Support the museums through your business and receive recognition and member benefits for your business, clients and employees.

ANNUAL FUND

Provide critical operating support for the Museum of New Mexico Foundation to fulfill its mission on behalf of our 13 partner cultural institutions.

EXHIBITIONS

Support exhibitions, related programming and institutional advancement at the division of your choice.

EDUCATION

Fund museum education and public outreach programs at our four museums, eight historic sites and the Office of Archaeological Studies.

PLANNED GIVING

Provide a long-lasting impact at our 13 partner cultural institutions through a bequest, beneficiary designation, charitable gift annuity, charitable remainder trust or gift of art.

ENDOWMENT FUNDS

Establish a new fund, or add to the principal of an existing fund, to provide a reliable source of annual income that sustains a variety of cultural programs and purposes.

SPECIAL CAMPAIGNS

Give to special campaign initiatives designed to fund a range of capital expansions and programming advances throughout the Museum of New Mexico system.

For more information, visit museumfoundation.org.

Top: Connie Jaquith (left) with Joyce Ice, former Museum of International Folk Art director.

The Legacy of Martha Arquero

Find her award-winning pottery at the Colleen Cloney Duncan Shop in the Museum of Indian Arts and Culture.

Santa Fe Plaza

Spiegelberg Shop

New Mexico History Museum

Rosalie D. and Steven J. Harris Shop

New Mexico Museum of Art

Museum Hill

Lynn Godfrey Brown Shop Museum of International Folk Art

Colleen Cloney Duncan Shop Museum of Indian Arts and Culture

Railyard Arts District

George Duncan and Sheryl Kelsey Shop Vladem Contemporary