When Sonia Borrell and Michael Phelan envisioned the Marfa Invitational Open, they weren’t simply planning an exhibition—they were igniting a movement. From an open call across Texas to vibrant communal dances under the desert sky, what unfolded in Marfa this May felt like a powerful celebration of artistry fuelled by human connection.
When Sonia Borrell and Michael Phelan envisioned the Marfa Invitational Open, they weren’t simply planning an exhibition—they were igniting a movement. From an open call across Texas to vibrant communal dances under the desert sky, what unfolded in Marfa this May felt like a powerful celebration of artistry fuelled by human connection.
Nearly 600 artists responded, submitting paintings, sculptures, photographs, textiles, and conceptual works. From this rich pool, Sonia, Michael, and Lester Marks selected 165 artists, each invited to bring one—and in many cases, two or three—pieces to Saint George Hall.
What set this Invitational apart was its warmth and intentionality. Before a single crate of artwork landed in Marfa, each artist joined the curators for a Google Meet session. These video calls weren’t cursory—they were creative dialogues, mentoring moments. Artists and curators discussed vision, meaning, and placement. Through these conversations, foundational trust was built, long before the opening night. That early care set a uniquely nurturing tone.
When the show began on May 15, the atmosphere inside Saint George Hall was electric. Halls and corners were transformed into a salon-style showcase where paintings leaned freely, sculptures felt unexpected, and installations invited interaction. There was no hierarchy—just harmony. Each piece contributed to what felt like a living, breathing environment.
A highlight of the exhibition was the work of Ray Smith, a veteran Texas sculptor discovered in the 1980s by Larry Gagosian. His monumental outdoor sculptures glowed in the dusky desert light, acting as beacons against the horizon. Inside, he gifted a large canvas that anchored the Invitational’s energy, bridging Marfa’s minimalist past with its vibrant present.
But art didn’t remain silent this week—it breathed into life.
Under the desert sky, Beth Coffey—a.k.a @DancinAustin—led an improvised evening dance. What began as movement became collective release. Visitors, curators, and artists alike swayed together, not as an audience, but as participants. The moment was pure—alive and inclusive, a dance of communal joy.
Around the circle, gin and tequila flowed. Laughter, desert night air, and dust combined in a spontaneous ceremony of shared breath and living art. It was more than a party—it was ritual, community, and celebration woven into one.
Crucially, over 160 of the 165 artists were actually present—not chasing awards or attention, but forging connection. Shared meals, late-night conversations, and collective reflections fostered a sense of peer support unique to this Invitational.
This wasn’t an art fair—it was a movement:
This Invitational embraced the full spectrum of artistic expression, prioritizing relationships over prestige, community over commerce.
Marfa’s desert legacy has long drawn creators—from the moment Donald Judd made it home in the 1970s. This Invitational honored and expanded that spirit. Ray’s sculptures glowed under desert sunsets. The dance reached across open land. The art blended multiple voices and stories. It was Marfa reimagined as an artistic hearth—honest, strong, evocative.
What emerged is more than a one-time event—it’s a blueprint:
This movement models a new way—where empathy meets art, and gathering becomes purposeful.
As the lights dimmed at Saint George Hall and dancers left the desert circle, an undercurrent remained: collective possibility. A promise that art can flourish anywhere there's care. That artists deserve recognition and connection. That a single canvas—or three sculptures—can touch something bigger.
Sonia and Michael didn’t just organize an exhibition—they sparked a movement. In Marfa this May, art breathed, danced, glowed, and convened. The desert became the stage; Ray’s sculptures, the pillars; the dance, the heartbeat. Each artist—a vital note in a bold symphony. With dust, drinks, and shared intentions, Marfa redefined what gathering around art can be.
Not just a show. Not just a moment. A movement.
Sonia Borrell: Building Cross‑Continental Bridges for Artists
For two decades, Sonia Borrell—known online as @soniabblondon—has collected art, advised creatives at every career stage, and quietly connected them with new audiences. This year she is widening that network, launching parallel initiatives in China, the United Kingdom, the Kingdom of Saudi Arabia (KSA), and Marfa, Texas (USA) to give both emerging and established artists practical support as they expand their international presence.
Expanding to Shenzhen
Borrell’s current focus is Shenzhen, where colleagues Alexander Grindheim and Marwan Kamel are helping her curating a suite of activations—exhibitions, panel conversations, and collector roundtables—across the city and at the Shenzhen World Contemporary Art Centre (SWCAC). Among these programmes are special introductions to Japanese artists Akitoshi Akamatsu and Aico Tsumori, whose work balances traditional techniques with present‑day visual language. “The goal is simple,” Borrell says. “Offer audiences fresh perspectives while ensuring the artists have the right local partners.”
Publishing for Different Ages
Alongside the exhibitions, she will launch a **Chinese‑language edition of her book **Art in Real Time—a practical guide to collecting that emphasises long‑term relationships between artists and patrons. She is also releasing Art Belina: A Museum Experience—an illustrated children’s story brought to life by artist Laksamana Ryo—that follows a girl named Bel and her dog Li through the world’s museums. Borrell hopes the book will “make visiting galleries feel natural—and fun—for young readers.”
Supporting Women in Art
Back in London, the Women in Art Prize—led by CEO Gabrielle du Plooy—relocates to the British Library this year. In collaboration with London‑based curators Irene Pouliassi and Itziar Ramos, Borrell is introducing the new Overseas Prize, given by the Tryson Collection, to recognise artists who build careers across borders and reinforce their shared commitment to expanding opportunities for women in the arts.
New Projects in KSA
Looking ahead to autumn, Borrell is collaborating with Sara Althari and the Art Qalaa team on a series of art activations and large‑scale installations across the Kingdom of Saudi Arabia. Designed to champion home‑grown talent while showcasing cutting‑edge international work, the initiatives aim to deepen engagement between Saudi audiences and the global art community.
Collecting with Purpose
Whether mentoring artists in London, coordinating shows in Shenzhen, or planning programmes in Riyadh, Sonia Borrell approaches collecting as a form of custodianship. “Buying a work is the starting point,” she says. “Helping the artist find an audience and a sustainable career—that’s the real measure of success.”
For updates, visit soniabblondon.com or follow her on Instagram @soniabblondon.
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Tate Modern today unveils In a perpetual remix where is my own song?, a striking new installation by French artist, DJ and producer Christelle Oyiri, marking the inaugural edition of the Infinities Commission—a new annual initiative championing radical experimentation in contemporary art.
Marcus Jansen, a globally renowned contemporary artist whose bold, emotionally charged works confront the complexities of modern life. Known for his distinctive fusion of street art, abstract expressionism, and social commentary, Jansen’s paintings explore themes of power, surveillance, and the human condition in an ever-changing world. From his early roots in graffiti culture to international acclaim, his journey is as compelling as the art he creates.
When Sonia Borrell and Michael Phelan envisioned the Marfa Invitational Open, they weren’t simply planning an exhibition—they were igniting a movement. From an open call across Texas to vibrant communal dances under the desert sky, what unfolded in Marfa this May felt like a powerful celebration of artistry fuelled by human connection.