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Cartoon clouds covered in sequins erupt on chrome poles from rocky, dry, land of Palm Springs in the Coachella Valley. Sanford Biggerss Unsui (Mirror) is one of the 11 installations featured in the fifth iteration of Desert X. The exhibition reflects on the deserts deep time evolutions. Surrounded by the seemingly unending emptiness of the Coachella Valley, these works bring human creativity to the wilderness. Using the natural elements of the desert such as wind and light to transform their work, these artists explore how, ancestral wisdom intertwines and at times collides with contemporary visions for our collective future.Desert X 2025 will be on view through May 11 at sites across the Coachella Valley.Below is list of the 2025 participants with a brief description of their installed work. Unsui (Mirror) by Sanford Biggers stands at 30 feet, the sequin clouds contrasting the expansive sky of Palm Springs. (Lance Gerber/Courtesy Desert X)Unsui (Mirror)Sanford BiggersSanford Biggers designed Unsui (Mirror), with Buddhism in mind. Biggerss Unsui, meaning clouds and water in Japanese, represents the duality of the changing sky with the reliable presence of clouds. The cartoon-shaped clouds are covered in a sequin material, shifting and changing with the wind and light. The artist recently staged similar artworks inside a historic building at Brown University.The marble blocks used in Jose Dvilas Act of Being Together were extracted from a quarry in Mexico, traveling hundreds of miles and crossing the U.S. Mexico border to arrive in the Coachella Valley. (Lance Gerber/Courtesy Desert X)Act of Being TogetherJose DvilaSited next to a wind farm, Jose Dvilas Act of Being Together is made up of large marble blocks stacked to resemble the skeletal remains of a place once inhabited. Extracted from a quarry in Mexico, the unaltered marble is an organic material foreign to the environment of the Coachella Valley, Dvila highlights the idea of migration. Traveling hundreds of miles and crossing the U.S. Mexico border, the stones, traversed a metaphorical border between the seen and the unseen, the artist shared. Agnes Deness The Living Pyramid features vegetation indigenous to the Coachella Valley, the installation evolving as the plants grow with the cycles of the desert environment. (Lance Gerber/Courtesy Desert X)The Living PyramidAgnes DenesAgnes Deness The Living Pyramid illustrates the hierarchy of politics and the ever-changing meaning of world peace. Located at the Sunnylands Center & Garden, known as the Camp David of the American West, the white triangular structure features plants native to the Coachella Valley. Over the course of the exhibition, the plants will either flourish or die, reacting to the harsh desert environment. While the pyramids are based on mathematics and thus achieve a kind of perfection, they contain all the imperfections they are dealing with or are representing and visualizing, Denes said.Standing for Generative Habitation Operating System Technology, G.H.O.S.T Ride will travel throughout the Coachella Valley over the course of the nine week exhibition. (Lance Gerber/Courtesy Desert X)G.H.O.S.T RideCannupa Hanska LugerBorn on the Standing Rock Reservation in North Dakota, Cannupa Hanska Lugers G.H.O.S.T Ride creates a world in which Indigenous communities were able to utilize technology to live in attunement with land and water. The artwork consists of a red truck, Luger calls, repurposed Archaic Technology, covered in reflective vinyl, blending with the environment. The artwork is a futuristic relic, meant to house a family from an unknown time. The installation is set to move throughout the Coachella Valley hoping to invite viewers to radically reimagine coexistence among human and nonhuman realms. Raphael Hefti in Five things you cant wear on TV uses the wind to change the shape of his design to create a disorienting effect as the horizon seems to move. (Lance Gerber/Courtesy Desert X)Five things you cant wear on TVRaphael HeftiFive things you cant wear on TV by Raphael Hefti is an artificial break from the monotony of the desert. The installation is made of a black woven fabric, coated on one side with a reflective finish, covering an expanse of the desert, stretched between two points. Taut between two fixed points, the length of durable material originally designed for fire hoses, oscillates with the wind, bending and bumping to the force of nature. To Breathe Coachella ValleyKIMSOOJAIn To Breathe Coachella Valley, Kimsooja wants the audience to interact with the essential elements of the dessert: the texture of sand underfoot, the air we breath, and the light around us. Kimsooja used glass to create a performance space, the shape of the diffracting light simulating bottaris, Korean fabric encased bundles of personal possessions.Plotting RestKapwani KiwangaDrawing from the midcentury design often found in Palm Springs, California, Kapwani Kiwangas Plotting Rest, is a large pavilion with a lattice roof. As the light changes, the roof, made of interlocking triangles, will cast moving shadows on the desert floor emulating the quilting pattern known as flying geese. This motif served as a secret guide system for those fleeing slavery via the Underground Railroad.In Truth Arrives in Slanted Beams, Sarah Meyohas uses reflection and reflection to create caustic light patterns. (Lance Gerber/Courtesy Desert X)Truth Arrives in Slated BeamsSarah MeyohasSarah Meyohass Truth Arrives in Slated Beams carves a wavy path stark white emerging from the deserts dusty ground. The immersive installation utilizes the refraction and reflection of light to create a large-scale interpretation sundial. In tracking the suns path at the location of the installation, Mehoyas was able to use mirrors to project specific images along the curved white surface, calling into mind the undulating idea of an oasis.Ronald Raels installation was made using a 3D-printing process to lay mud to create the tall adobe structures. (Lance Gerber/Courtesy Desert X)Adobe OasisRonald RaelRed clay walls zig-zag through the desert in Ronald Raels Desert X contribution Adobe Oasis. Taking inspiration from historic architecture, Raels installation uses adobe to highlight the use of organic materials. Raels work blends historic practices with modern innovation, using a 3D printing process to lay mud to create the tall structures. The visitor walks through the passageways defined by the adobe walls, envisioning a future in which sustainable materials are the norm. Alison Saars Soul Service Station features a repurposed gas pump playing poems by Los Angelesbased poet Harryette Mullen. (Lance Gerber/Courtesy Desert X)Soul Service StationAlison SaarIn Soul Service Station, Alison Saar hopes to provide fuel for the soul by building a sanctuary of spiritual oasis. Made up of discarded tin, wood, glass bottles, and cast iron pans, the installation works to preserve the history of the objects, objects connected to the black female identity, while giving them new meaning. Inspired by gas stations, Saar invites visitors to reflect upon a collection of devotional objects, community-made foil medallions, and a large hand carved sculpture of a female figure.Muhannad Shono used strips of fabric immersed with the sand of the Coachella Valley to illustrate the movement of the desert. (Lance Gerber/Courtesy Desert X)What RemainsMuhannad ShonoMuhannad Shono evokes fluidity in his installation What Remains. The beige fabric attached loosely to two wooden posts moves with the wind, emulating the waves of the sand. The piece represents the way in which the desert relies on the wind to create change, transporting dunes from one place to another.