Exhibits outlined Ecuador’s rich and varied cultural makeup, displaying the traditions and garb of the various ethnicities that comprise the country. The detailed skirts and peaked hats of the native women were explained, giving us new-found respect for the artistry and tenacity of the native traditions. It was a stark contrast to our experiences in the American Southwest, where the narrative is generally one of decimation and dissolution and traditions forever lost to the ether. Tribal masks were reminiscent of the artist Basquiat, famous for injecting African themes into his evocative graffiti-inspired style, forging a strange link between three continents with those same threads of universality waiting to be found in the museums of the world.
With so many highs it was difficult to choose favorites. On a different day we might name another place. How does one judge descending into the New River Gorge against wading in the Colorado’s frigid waters on a Glen Canyon beach? What makes learning about the one-armed, explorer, cartographer and general badass John Wesley Powell any less intriguing then witnessing Native American dance? Is the culture of the Puebloan people preserved at Bandelier National Monument any less important than the sculpture gardens at the Nasher Center? Is anything more beautiful than stumbling upon the expansive crater of Valles Caldera at sunset, or watching J look upon the Pacific Ocean for the first time, or having a cool lake to ourselves on a sweltering Texas day?
If the utility of a road is compromised due to the whims of bovine, it should not, in fairness, be called a highway. Consider this my formal complaint with the state of New Mexico. The cow strutting out of the darkness before us was such an absurdity we erupted into astonished laughter. Then there was more movement. A group of shadows fell into focus. The laughing stopped.