Anyone enmeshed in the global art circuit is personally familiar with or has heard praise of the unique magnificence of the Dallas Art Fair. This should come as no surprise considering the magnitude of the art scene in Dallas, which encompasses acclaimed destinations like the Dallas Museum of Art and the Nasher Sculpture Center, pioneering organizations like The Power Station and Dallas Contemporary, as well as the innumerable private residences with collections—like the home of the family of art advisor Adam Green (which featured one of the most impressive and diverse curations in the city during our recent visit). At the center of it all is the Dallas Art Fair, flush with eye-catching works from local, national and international galleries, set in a navigable layout that encourages easy discovery.

This year, a little more than 90 galleries populated booths along two floors of the Fashion Industry Gallery (f.i.g.) in the Dallas Arts District. They ranged from the city’s own Sputnik Modern, Conduit Gallery and Pencil On Paper Gallery, to New York City’s Deli Gallery, Lausanne’s Fabienne Levy and CDMX’s Proyectos Monclova. Many longtime COOL HUNTING favorites—from South Kent’s James Barron Gallery to NYC’s The Hole and Miami’s Spinello Projects—brought spectacular pieces for attendees to peruse. Of equal importance were galleries that only exhibit in the Dallas Art Fair, who provided a glimpse at their curatorial convictions.

A charitable component—wherein a group of donors, organized through the fair’s foundation, dedicate funds to acquire works from the annual event for the Dallas Museum of Art—underscores a commitment to its home city. This year marked the eighth annual acquisition. “We’re so proud to reflect on the impact the fair has made in our arts community in Dallas over the years,” Kelly Cornell, the director of the Dallas Art Fair, shared during the opening press conference. “What has grown out of humble roots now makes an international impression. The Dallas Art Fair Foundation has now raised over $2 million since it was founded—and facilitated nearly 60 artworks going into the Dallas Museum of Art’s permanent collection. This success is not ours alone. It’s thanks to the galleries’ commitment to Dallas, our incredible collecting community, sponsors, partners and more.”

This year, transfixing works by three women artists were acquired by the museum. From Irish mixed-media artist Ailbhe Ní Bhriain, “Interval I” (2023) incorporated Jacquard tapestry, cotton, wool, silk and Lurex. It was acquired from Dublin, Ireland’s Kerlin Gallery. Houston-based artist JooYoung Choi‘s cosmic, compelling “The Table of Love” (2022) married acrylic, gouache, vinyl paint, carbon transfer, Gelli print, airbrush, Duralar and cut paper on canvas. Choi is represented by Houston’s Inman Gallery. Cape Town-based multidisciplinary artist Thania Petersen set Japanese glass cut beads and embroidery thread on cotton poplin for “SJAMBOKLAND,” (2022) which was acquired from Nicodim Gallery.

The Dallas Museum of Art’s Hoffman Family Senior Curator of Contemporary Art, Dr. Anna Katherine Brodbeck, spearheaded acquisition. “This year’s acquisitions are some of the most ambitious to date,” Dr. Brodbeck shared in advance of the acquisition announcement. “We acquired three monumental works from women artists from Ireland, South Africa and, of course, here in Texas. Their diverse work draws on traditions of textile production, transnational histories of colonialism, pop culture and astro-futurism, while sharing a beautiful and intricate approach to world building that will allow us to tell these stories to our audiences with all the complexity of their artistic vision.” All three depict disparate, deeply nuanced tablescapes that immediately transport viewers elsewhere.

In conjunction with the fair, the city of Dallas welcomed immerse art activations, many hosted by the art-centric luxury hotel The Joule—though none quite as enchanting as their Eyeboretum party, a whimsical garden gathering set in front of Tony Tasset’s towering optical sculpture, aptly entitled, “The Eye.” Together, all of these activities—and the innate, engaging art scene—have established the fair as one not to miss.