2026 Taos Gallery Guide

Zoë Zimmerman

Stepping into fine art photographer Zoë

Zimmerman’s private enclave, her home and studio, is like entering one of her captures, both the earlier black and whites, and the compelling, masterful works in color she developed r he a e c.

The still lifes she assembled from disparate objects, dead flowers (and birds) arranged with luscious fruits in silver bowls — these often uncomfortable juxtapositions ask us to re-evaluate our own perceptions of beauty.

Lesser women would be bowed by facing such truths head-on, but Zimmerman’s work encompasses a full and complex life: Sorrow and loss, motherhood to two transgender children, and she, the artist who never stopped working through it all.

Like fellow female photographers Sally Mann and

Diane Arbus, Zimmerman’s art explores the margins, the peripheries and the overlooked edges; drawing one in with her alluring way with light and perspective, while literally looking at her subject matter head-on. Whether in her collection of men or the photographs made of her son as a r ch .

Zimmerman lives on a beautiful property in a real neighborhood, shaded by trees with a ditch run-

ning through it. She is the mayordoma of her acequia association and deeply engaged in her community.

Her grace and empathy, vision and acceptance of life’s changes, are reflected in her beautifully appointed house. Carefully curated collections of art and objects are arranged throughout the rooms with an exquisite eye for detail. Yet her home is equally warm and welcoming.

Her studio is located in two buildings behind the house, one where she creates the magical still lifes and powerful portraiture she’s known for. This is her ”shooting studio,” she says.

The day I visited, long tables were covered with works from different periods, carefully stacked between layers of archival tissue. The Harwood team had recently visited, and she had not yet (to my delight), put the work away.

All around the room and in the corners, interesting and quirky pieces of antique and vintage furniture, and objects patinaed by time and wear, were waiting to re-enter the space they occupy; props and backdrop for the artist’s eye and lens.

On a little stand beside the entry, a book lay open. “The Zimmerman Method,” is a “modernized, alternative (albumen) printing process,” she explained, as I looked at the cover of this rather dense textbook by one Christopher James: “The Book of Alternative Photographic Processes. “

We left Studio A and walked next door to Studio B. This is where the real magic happens. In the darkroom and on the computer.

This space is her cockpit, her workspace. No rhyme or reason, not decorated or for effect. This is where Zimmerman “gets to work with my coffee and forget I am still in my pajamas hours later.”

Looking at the effortlessly chic woman saying this, one finds it hard to believe, but maybe, just maybe, the clue lies in the difference between the two studios, much like the jarring juxtapositions she employs in her compositions.

AngieStudio/Gallery Coleman

ELIZABETH JOSE

TCA

ENCORE GALLERY

Known for its films and theatrical productions, the TCA would not be complete without its very own art gallery called Encore. Art you can meditate on while enjoying popcorn. In some ways it’s easy to overlook as peripheral to the main event, but those works of art in that spacious lobby receive a fair amount of exposure to the community and passersby.

“It’s a lot of exposure to someone’s art. I mean, that’s my favorite part about it, is that the art at the Encore becomes so connected to the performances and the films

She adds that “It’s such a highly visible space, and more people are going to see your art than any other place, because not everyone feels comfortable going into galleries or going into museums.”

generosity with tough decisions.

The Encore Gallery is open during events and by appointment. Call TCA’s office at 575-758-2052 to schedule an appointment Monday to Friday from 9-4:30pm

She traces that ethos back to the early aughts, when Taos Center for the Arts carved out the Encore Gallery as a second pulse point for local art. Now under Hart’s watch, Encore runs a tight rotation of nine shows a year — community spotlights, a members’ open and juried exhibitions that feel both democratic and discerning. This year’s numbers tell

On deck for Encore is a collaboration with Paseo Project during the Taos Film Festival — a collision of moving image and gallery space with the help of Dust Wave from Albuquerque. Then there’s the wonderful collaborative possibilities between longterm friends and collaborators Joseph L. Concha and Peter Merscher. For the heavy duty car enthusiasts out there, one of the Encore’s community shows will be in the form of a T.A.C.O (Taos Auto Cruise Organization) car show, a parking lot overrun with beautiful whips and a lobby stacked with the photography of Jeff Cochran.

HOTEL WILLA

Thriving within their first year of operation with robust programming, the Gallery at Hotel Willa plans to keep the ball rolling under the leadership of the Paseo Project and Executive Director Matt Thomas. The Gallery at Hotel Willa spans 2,000 square feet of exhibition space energized by the Paseo Project, the local nonprofit dedicated to catalyzing community transformation through the arts. The gallery anchors the hotel’s commitment to amplifying

Taos’ fiercely creative spirit, offering both travelers and locals an immersive cultural experience.

Also functioning as an event space the place feels less like a hotel gallery and more like a live wire plugged directly into northern New Mexico’s creative circuitry. “We’re just having a lot of fun bringing that to our community and offering that space for local artists,” says Thomas. Recent programming has already tested the walls.

Supernova fashion star Josh Tafoya turned the gallery into a runway fever dream with mannequins decked out in woven fabulousness.

In addition to the gallery there’s even more local art work as soon as you step into the Willa lobby. Not quite as expansive as the gallery, there’s still just enough room to showcase a couple of framed works of local artists right there when people come into the hotel and restaurant.

The gallery is open Fridays through Sundays from 1–6 p.m. and by appointment for the curious and committed. Throughout the year they host a dynamic rotation of exhibitions, events and community gatherings.

Starting in late August, the temperature rises with “Disturbance,” a five-month exhibition interrogating fire ecology and forest management in a region where smoke is no abstraction.

“We hope to activate the space with different sort of pop-ups and workshops and discussions around fire ecology and forest management with artists and scientists,” says Thomas.

hotelwilla.com/experiences/art-programs

By

106A Paseo del Pueblo Norte, Taos, NM (575) 751-7122 (at the entrance to the historic Taos Plaza.)

LA to TAOS

TAOS MODERNS

TAOS MODERNS

Louis Ribak, White,Tan&Black c. 1970s

Louis Ribak, White,Tan&Black c. 1970s

Artwork opposite: Lee Mullican, Wounded, 1958

Artwork opposite: Lee Mullican, Wounded, 1958

Distinct from the earlier Taos Society of Artists, the Taos Moderns embraced abstraction and modernist experimentation, establishing Taos as an unexpected, yet important, center for post war American art.

Distinct from the earlier Taos Society of Artists, the Taos Moderns embraced abstraction and modernist experimentation, establishing Taos as an unexpected, yet important, center for post war American art.

Drawn by its extraordinary light and landscape, the artists arrived between the 1940s through the 1970s, bringing with them a rigorous modernist vocabulary shaped by institutions such as the Art Students League, Black Mountain College, and the California School of Fine Arts.

Drawn by its extraordinary light and landscape, the artists arrived between the 1940s through the 1970s, bringing with them a rigorous modernist vocabulary shaped by institutions such as the Art Students League, Black Mountain College, and the California School of Fine Arts.

Many studied with leading gures including Hans Hofmann, Joseph Albers, Mark Rothko and Cly ord Still. In Taos, those in uences merged with the visual and cultural intensity of the Southwest to produce a distinct and lasting body of work.

Many studied with leading gures including Hans Hofmann, Joseph Albers, Mark Rothko and Cly ord Still. In Taos, those in uences merged with the visual and cultural intensity of the Southwest to produce a distinct and lasting body of work.

Kenneth Adams,Tulips, 1966

Kenneth Adams,Tulips, 1966

Set within a restored historic hacienda in downtown Taos, Gallery 215 o ers an intimate setting for viewing Historic, Modern and Contemporary New Mexican art. Curated and operated by 203 FINE ART, the space re ects the gallery’s commitment to exceptional presentation and connoisseurship.

Set within a restored historic hacienda in downtown Taos, Gallery 215 o ers an intimate setting for viewing Historic, Modern and Contemporary New Mexican art. Curated and operated by 203 FINE ART, the space re ects the gallery’s commitment to exceptional presentation and connoisseurship.

Dating to 1850, the two-story adobe has been thoughtfully renewed as a private, appointment-only gallery experience.

Dating to 1850, the two-story adobe has been thoughtfully renewed as a private, appointment-only gallery experience. Works by the important Taos Society of Artists—including Eanger Irving Couse, Ernest Martin Hennings, Joseph Henry Sharp, Bert Geer Phillips, and Catharine Critcher are presented alongside carefully selected modern and contemporary holdings, re ecting the breadth of the region’s artistic legacy.

Works by the important Taos Society of Artists—including Eanger Irving Couse, Ernest Martin Hennings, Joseph Henry Sharp, Bert Geer Phillips, and Catharine Critcher—are presented alongside carefully selected modern and contemporary holdings, re ecting the breadth of the region’s artistic legacy. Located at 215 Ranchitos Road, opposite the Harwood Museum of Art parking lot. Viewings are available by private appointment.

Located at 215 Ranchitos Road, opposite the Harwood Museum of Art parking lot. Viewings are available by private appointment.

Fine Art Services

Fine Art Services

203 FINE ART advises collectors, estates and institutions on the acquisition, valuation, care, presentation and placement of signi cant works of art.

203 FINE ART advises collectors, estates and institutions on the acquisition, valuation, care, presentation and placement of signi cant works of art.

With deep market knowledge, curatorial expertise, and a trusted international network, we provide discreet, individualized guidance across every stage of a collection’s life, supporting both aesthetic vision and long-term value.

With deep market knowledge, curatorial expertise, and a trusted international network, we provide discreet, individualized guidance across every stage of a collection’s life, supporting both aesthetic vision and long-term value.

Estate Management

Appraisals

Valuations

Estate Management

Consignment & Acquisitions

Insured Art Storage

Art Restoration

Consignment & Acquisitions

Appraisals

Collections Curation

Valuations

Collections Curation

Art Staging

Insured Art Storage

Art Restoration

Art Staging

THE NEXT CHAPTER

114 ALEXANDER STREET THE NEXT CHAPTER

114 ALEXANDER STREET

In the fall of 2026, 203 FINE ART will relocate from our main location on Gusdorf Road to our new headquarters at114 Alexander Street, Taos, NM. The fully renovated 15,000-squarefoot facility will expand the gallery’s exhibition program while adding world-class art storage, dedicated collections archives and a versatile event venue.

In the fall of 2026, 203 FINE

will relocate from our main location on Gusdorf Road to our new headquarters at114 Alexander Street, Taos, NM. The fully renovated 15,000-squarefoot facility will expand the gallery’s exhibition program while adding

In the fall of 2026, 203 FINE ART will relocate from our main location on Gusdorf Road to our new headquarters at114 Alexander Street, Taos, NM. The fully renovated 15,000-squarefoot facility will expand the gallery’s exhibition program while adding world-class art storage, dedicated collections archives and a versatile event venue.

This new space re ects the next chapter of 203 FINE

and service.

This new space re ects the next chapter of 203 FINE ART’s commitment to exceptional presentation and service.

Enchanted Circle Pottery

enchantedcirclepottery.com

Located in Taos Canyon on scenic U.S. 64, Enchanted Circle Pottery is owned and operated by JoAnne and Kevin DeKeuster. The couple creates both functional and sculptural ceramic pieces, including a full line of dishwasher- and microwave-safe tableware. Their work is uniquely fired with wood, an ancient Japanese process that produces one-of-a-kind, iridescent colors as ash melts into the glaze at intense kiln temperatures. Sculptural pieces begin on the potter’s wheel and are shaped by hand, combining thrown and hand-built elements. Visitors can watch the artists at work, throwing, shaping and firing their distinctive ceramics in the studio and gallery.

Taos Ceramics Center

Northern New Mexico’s premier ceramics destination, Taos Ceramics Center, located at 114 Este Es Road, showcases the work of some of the region’s finest contemporary clay artists. The gallery exhibits a combination of sculptural

and functional pieces, while the 2,000-squarefoot studio offers classes, workshops and private lessons for all skill levels. Visitors can tour the space, explore the well-stocked ceramics supply store and experience a vibrant community of artists

through exhibitions and membership opportunities. As a nonprofit dedicated to education and the ceramic arts, the center celebrates Taos’ rich creative culture, making it a must-visit destination for anyone interested in contemporary clay.

taosceramics.com

Minks

Don Brackett

“We encourage them to go in whatever direction they want,” Jones said, “we want them to embrace their creative diversity.”

The collection spans modern and traditional work, offering something for a wide range of collectors. “We believe if you love it, show it,” Walker

said. “It is still authentic Taos.” Jones noted that many visitors travel from outside northern New Mexico. “We offer art that will work where people live,” he said, “not just in the Southwest.”

Approachability is central to the gallery’s design. Furniture and thoughtful touches create a comfortable setting. Prices are set

by the artists, with options for new collectors as well as seasoned buyers. “You do not have to be rich to own original work,” Walker said. The gallery attracts tourists and locals, and many purchases are made through their online shop.

“The rule is there are no rules except to honor our core values and work ethic,” Jones explained.

Visitors are welcome to browse, learn about Taos art, and enjoy the experience without pressure.

“Before we were here, we wished we were here,” Walker added. “We relate to visitors who feel the same way.”

Jones Walker of Taos offers a chance to expe-

rience the region’s art through the perspective of two designers who value authenticity and diversity while making everyone feel welcome. They are also quick to recommend other galleries and shops in town. “It’s all about community, and we are honored to

be a part of it,” Walker said.

Located at 127 Bent Street, Jones Walker of Taos is open seven days a week, with appointments available at any time. For more information or to visit the online shop, go to joneswalkeroftaos.com

Discover our collection of contemporary and historical arts from cultures of the Southwest

Everyone knows Taos as an art town and these three traders — upholding the honor of curating traditional arts and crafts, many from surrounding Pueblo and other Indigenous cultures — are a clear example of the best of the best in our Southwest hub.

ThreE TraderS ThreE TraderS

By ARIELLE REYNA

Alicia and Gabriel Abrums

Chimayo Trading del Norte

Chimayo Trading del Norte cuts through time the way a jeweler cuts through turquoise for the perfect inlay. Owner Gabriel Abrums, alongside wife, Alicia, is another stone in the silver of the family traders; he grew up at his dad’s trading spot in Chimayo and working rare rocks with his grandfather. Now, in the 300-year-old gallery space — itself a testament of time next to the famous San Francis de Asís Church on the south side — Abrums curates a space where history’s antiquities meets world-famous art. He’s been in the space since 2003. The gallery features local and regional Navajo rugs, Zuni fetishes, Hopi Kachinas, baskets, weavings, paintings, fine art and Pueblo, Acoma, and Mata Ortiz ceramic works. A one-stop shop for pieces that are filled with story and honor place and peo-

ple, whether expressed in traditional form, or a contemporary retelling. New acquisitions include Taos Pueblo’s Angie Yazzie’s

striking-black micaceous pottery with its geometric cutouts, and Walt Gonske’s legendary landscapes full of sun and snow.

Robert L. Parsons

Parsons Fine Art

With a long list of artists rounding out the rolodex at Parsons Fine Art, there is something for any connoisseur or collector to enjoy. Featuring mainly oil paintings spanning centuries, owner Robert L. Parsons loves to center New Mexico imagery, from landscapes warmed by beautiful sunsets, to a floral still life, or a more straightforward portrait brushing together Spanish and Indigenous lineages. The gallery also features Navajo weavings from the Classic through the Transitional periods, creating an atmosphere that evokes the early Southwest experience. Nestled centrally on Bent Street, the gallery feels almost more museum than storefront, with many of the pieces coming from private collections and likely going to a new one.

Ray Trotter RB Ravens Gallery

“I think we are good messengers,” says Ray Trotter of his trading post, RB Ravens Gallery, named after the Indigenously-revered birds of communication. Housing classic Indigenous weavings, pottery, kachina dolls and Native American paintings, along with other early Southwest painters in the relaxed 3,500-square foot gallery in Ranchos de Taos, the gallery’s focus is on preserving and expanding the stories of our first peoples. The simplicity and subtlety of the whitewalled adobe really highlights the vibrant crafts, some made by unknown hands. Trotter has been in Taos since the 1970s and is considered an evangelist for the Ranchos village, upholding both local

to the inventory are a wide selection of wool-woven saddle blankets, most over 100 years old, and each with mesmerizing patterns and