The Desert X biennial exhibition, which showcases site-related installation art, opened its fifth installment on March 8, 2025, presenting 11 unique sculptures throughout the Coachella Valley. Despite previous shows featuring as many as 19 participating artists, this year’s iteration marks the smallest to date, leaving many to ponder whether the decline reflects dwindling engagement or greater selectivity among artists.
Among the standout pieces is Guadalajara-based Jose Dávila’s monumental "The act of being together," constructed from twelve massive blocks of white marble. These blocks, quarried from Dávila's home country and stacked with precision next to windmills near Desert Hot Springs, create stark contrasts between the primal nature of the stone and the industrial elegance of the turbines above. The art piece evokes thoughts of ancient structures, such as Stonehenge, engaging visitors as it reflects contemporary societal rituals, celebrating community and togetherness.
At the foot of hiking trails, these massive sculptures spark inevitable reflections on historic ceremonial sites and their relevance today. "Dávila’s sculpture is conscious of its role as an engine for ‘the act of being together’,” notes the installation curator, highlighting the role art plays in uniting individuals across different contexts.
Close by, at the scenic Palm Desert, lies Alison Saar's whimsical "Soul Service Station." This work, which draws inspiration from Saar's earlier project made when she was under 30, features carefully constructed signs made from vehicle tires lining a path to the installation. The project cleverly suggests the aesthetics of traditional gas stations, enhanced by the whimsical messages of poet Harryette Mullen. One sign reads, "When your heart has fallen flat, we pump it up," playfully inviting visitors to engage with the installation.
Saar’s work integrates community and personal nourishment, embodied by a sculpture of an Amazonian woman who wields a squeegee instead of weaponry, symbolizing resilience and readiness to help. "When you can’t see ahead, we wipe your windshield clean and clear" becomes more than just signage; it positions the craftsmanship as both nurturing and empowering, echoing universal human experiences.
Approximately half-an-hour away, Swiss artist Raphael Hefti presents "Five things you can’t wear on TV," which consists of over 1,300 feet of reinforced fire-hose material. This aerial sculpture, impressively suspended between two points, embodies the principles of catenary curves, inviting viewers to appreciate both the artistic inclination and engineering mastery behind its creation. The title itself nods to the playful aesthetics of contemporary art, contrasting the serious inquiries present within the Desert X framework.
Hefti’s work engages viewers uniquely, creating dynamic visual experiences altered by radiant sunlight or ambient night conditions. The installation sparks joy, delighting those who walk by as it dances against both the natural backdrop and the vast sky above.
This year’s Desert X, organized under the guidance of artistic director Neville Wakefield and curator Kaitlin Garcia-Maestas from Socrates Sculpture Park, hosted additional works by artists such as Sanford Biggers, Agnes Denes, and Cannupa Hanska Luger. While these installations may not receive as prominent attention as those from Dávila, Saar, and Hefti, they still contribute to the diverse narrative provided by the exhibition.
Reflecting deeply on Desert X's evolution, it has faced external challenges, including sluggish audience engagement and fundraising efforts post-pandemic. This reduced accessibility may contribute to the perception of diminished ambition, as it echoes the collective anxieties many cultural institutions are currently grappling with.
Still, the installations of Desert X 2025 have proven to be as thought-provoking as any parts of the biennial have previously produced, reminding us of art's enduring capacity to connect, inspire, and prompt dialogue.
Desert X 2025 is slated to close on May 11, 2025, leaving many curious about the future of the exhibition and how it will adapt to the ever-changing art community’s dynamics.
