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Roasted Butternut Squash With Lentils and Whipped Feta

By
Abdul Rafay
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0
Roasted butternut squash wedges served over green lentils and whipped cilantro feta, garnished with crushed pistachios and Aleppo pepper, paired with white wine glasses.

Roasted butternut squash gets a fresh twist with tender green lentils and creamy whipped cilantro feta. The sweet, caramelized squash pairs beautifully with the salty feta, bright lemon, and crunchy pistachios for a dish that feels both comforting and refined.

Why Have a Glass of Chaleur Blanc with This Roasted Butternut Squash

“Chaleur Blanc has a core of vibrant energy from Sauvignon Blanc, (70%) which provides an excellent balance to the natural sweetness of the roasted squash, while the honeyed varietal expression of Semillon (30%) matches the caramelization of the squash. Barrel fermentation and aging, and time on the yeast (lees) adds a creamy, round textural component to the wine that matches the texture of roasted squash. Whipped feta’s acidity matches the wine, with its salty component elevating the fruit and citrus expression of the wine.” – Jason Gorski, Vice President of Winemaking & Viticulture, DeLille Cellars

Meet DeLille Cellars at Santa Fe Wine & Chile Fiesta! They will be present at: Reserve Tasting and Silent Auction (September 24), and Fiesta Grand Tasting (September 26).

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Roasted butternut squash wedges served over green lentils and whipped cilantro feta, garnished with crushed pistachios and Aleppo pepper, paired with white wine glasses.

Roasted Butternut Squash With Lentils and Whipped Feta

  • Author: Julia Platt Leonard
  • Yield: Serves 6 as a side dish 1x
Print Recipe

Description

This roasted butternut squash dish combines tender lentils with creamy whipped cilantro feta for a tasty side. 

Ingredients

Scale

For the whipped cilantro feta:

  • 1 block of feta cheese
  • 3/4 cup of whole milk Greek yogurt
  • 1/3 cup coarsely chopped cilantro
  • 1 small clove garlic, peeled and roughly chopped
  • 1 tbsp chopped preserved lemon or the zest of one lemon
  • 1/4 tsp Aleppo pepper
  • 2 tbsp olive oil

For the roasted squash and lentils:

  • 1 butternut squash
  • 2 tbsp olive the rounded base of the butternut squash and slice in half lengthwise. Remove the seeds and any fibrous bits. Cut each half into four oil
  • 1 tsp salt
  • 1 cup dried green lentils
  • 1 tbsp lemon oil
  • Whipped feta
  • Aleppo pepper, chopped pistachios, and olive oil, to garnish.

Instructions

For the whipped cilantro feta:

  1. Place the feta cheese, yogurt, cilantro, garlic, preserved lemon or lemon zest, and Aleppo pepper in the base of a large food processor.
  2. Pulse the mixture and while running drizzle in the olive oil, until it’s smooth. If it’s still quite rough, you can add more olive oil.
  3. Taste and add more Aleppo pepper, if you like. It shouldn’t need any additional salt as the feta is quite salty.

For the roasted squash and lentils:

  1. Slice the butternut squash at the base of the ‘neck’ where it starts to flare out. Peel the neck, slice it in half lengthwise, the cut each half into quarters, about 1/2 inch thick.
  2. Peel the rounded base of the butternut squash and slice in half lengthwise. Remove the seeds and any fibrous bits. Cut each half into four wedges, for eight wedges in total.
  3. Place the butternut squash onto a baking pan, drizzle over the olive oil, and salt and toss to coat.
  4. Place the pan in the preheated oven. Check every 10-15 minutes, turning the squash pieces so they brown evenly. Once, they’re nicely roasted and you can insert a knife into the pieces easily – about thirtyforty minutes – remove from the oven.
  5. While the squash is roasting, rinse the lentils and remove any pieces of dirt or stones. Bring a pot of water to a boil and salt it. Add the lentils and cook until tender but still holding their shape, about fifteen minutes.
  6. Drain and place the warm lentils in a boil and drizzle with the lemon oil (if you don’t have lemon oil, use regular olive oil with the addition of some grated lemon zest).
  7. To assemble, place a large smear of the whipped feta on the plate, then add the lentils and the roasted butternut squash. Garnish with a generous sprinkle of Aleppo pepper, chopped pistachios, and a healthy glug of olive oil. Serve any remaining whipped feta on the side so you guests can help themselves.

Did you make this recipe?

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About the Recipe Author

Julia Platt Leonard is Regional Editor for TABLE Magazine’s New Mexico edition, covering Santa Fe’s food, shopping, and community scene. A graduate of the Cambridge School of Culinary Arts, she has worked as a pastry chef, food consultant, and television reporter, and is co-founder of the Santa Fe International Literary Festival. She is the author of the novel Cold Case (Simon & Schuster) and has written for publications including The Independent. Reach her at julia@tablemagazine.com.

About the Photographer

Dave Bryce is TABLE Magazine’s contributing architecture, interiors, and food photographer, based in Pittsburgh. He photographed Fallingwater: Living With and In Art (Rizzoli, 2025) and regularly shoots for Pittsburgh Magazine and American Farmhouse Style, working with architects, interior designers, and hospitality brands. See more at davebrycephotography.com. 

Wine Pairing by Jason Gorski, Vice President of Winemaking & Viticulture, DeLille Cellars

Subscribe to TABLE Magazine‘s print edition. 

Meet the Chefs of the 2026 Santa Fe Wine and Chile Fiesta

By
Keith Recker
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Close-up detail shot of chefs posing for a group portrait at the Santa Fe Wine & Chile Fiesta.

What began as a small one-day gathering has grown into a six-day celebration of Santa Fe’s food and wine scene. The Santa Fe Wine and Chile Fiesta 2026 brings together top local chefs, nearly 90 wineries, and a packed schedule of tastings, seminars, and lively events for food and wine lovers September 22-27.

The Chef’s Taking Over the 2026 Santa Fe Wine and Chile Fiesta

It all started in the Santa Fe Railyard on the last Saturday of September in 1991. The plan was a one-day food and wine event with 20 restaurants and 20 wineries. Thirty-five years later, it has blossomed into a six-day event celebrating the very best of Santa Fe. Almost 80 restaurants and 90 wineries participate in the event. Expect everything from intimate, sold-out seminars with some of the brightest minds in the wine world. There are also dress-to-the-nines events like Rosé All Day. There is literally something for everyone. You can find the full schedule of events on the website.

In what has become a beloved tradition, we gathered participating chefs for a “class photo.” The smiles said it all as they gathered on the lawn at the Governor’s Mansion. It was a chance to catch up with fellow cooking comrades and to toast the upcoming fiesta. Special thanks to Mary Hallahan, Erika Batista, and the rest of the Wine & Chile Fiesta team and to Tira Howard for capturing it all. And a big thank you to the Governor and her team for making us feel so welcome.

Participating chefs posing together for a group photo on the Governor’s Mansion lawn during the Santa Fe Wine & Chile Fiesta.

Who Is in the Photo?

Front row (grass seated), from left to right: Oliver Laparra; Nate Clements; Edgar Velasquez; Jeff Drew; Marc Quinones; Candelario Rivera; Juan Guerra; Tom Kerpon.

First row (seated), from left to right: Kerry Young; Angela Lueras; Randy Tapia; Jessica Brewer; Cristian Pontiggia; Jose Rodriguez; Marvin Santos; Eduardo Rodriguez; Laura Crucet; Jose Revera; Melissa Dominguez; Manuel Fernandez; Santos Calles; Jose Garcia; Andres Portugues; Angel Ruvalcaba; Edgar Jimenez.

Second row (standing), from left to right: Fernando Olea; Noe Cano; Chris J. Silvas; Gregory Joseph; Graham Eden; Ashley Hardy; Sarah Orr; Sergio Arguello; Chad White; Missy Auge; David Sellers; Daniel Vandygriff; Joseph Wrede; Allen Withrow; Christina Caruso; Kayleen Pacheco; Victoria Brunei; Erica Tai.

Back row (standing), from left to right: Gerardo Duran; Francisco Delgado; Luis Ortiz; Chase Rahm; Damian Herrera; Angelo Chavez; Juan Benitez; Tony Zayas; Yamilet Hernandez; Jason Fletcher; Gilser Galvez; Cree Faks; Rich Powdrell; Gabriela Pineda; Josh Gerwin; Kathleen Crook; Destini Suazo; Fernando Ruiz; Jesus Calderon; Martha Dominguez; Roberto Perez; Didanis Perez; Carlos Montalvo; Edna Lopez; Thomas Mack.

Photo by Tira Howard

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Faces of the Santa Fe Farmers’ Market: The Story of Malandro Farm 

By
Kylie Thomas
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0
Portrait of a female farmer wearing glasses and a sunhat, leaning against a fence outdoors with a field and mountains in the background.

Every time you shop at the Santa Fe Farmers’ Market you support local farmers. It’s a decision that matters – we get the freshest and best quality food while helping Northern New Mexico farms stay healthy and strong. Bevin Carnes of the Santa Fe Farmers’ Market Institute introduces us to one of those farmers and shares a story of resilience, commitment, and tenacity in the face of unrelenting challenges.  

Anyone who has seen Malandro Farm’s spread of lush, vibrant produce at the Santa Fe Farmers’ Market knows that farmer Lisa Anderson can make things grow. But Anderson’s farming partnership with her husband ended when the couple split. Without access to the land, equipment, and infrastructure she had spent years building, she didn’t know whether she could do it again somewhere else.  

A female farmer wearing a cap, glasses, and overalls gesturing with her hand while leading a group tour outdoors in a field.

Last May, visitors to the Santa Fe Farmers’ Market Institute’s annual Farm Tour & Luncheon saw Anderson rebuilding largely by hand on a small rental plot in La Puebla. There, she began to understand that what made her first farm succeed was not only what she had lost, but what remained: her knowledge, skill, and determination. This time, she was putting them to work on her own terms. 

Meet Malandro Farm, a Vendor at the Santa Fe Farmers’ Market

Bevin Carnes: What first inspired you to become a farmer? 

Lisa Anderson of Malandro Farm: I worked in the produce department of a natural food store and enjoyed interacting with farmers delivering local produce. Then I found an internship on a farm in southern Colorado and saw what it took to turn a pasture into vegetable production. 

I found a lot of resonance with food and its energetic capacity for healing and nourishment. As a young woman, your relationship with food can become really distorted because of pressure to look a certain way. I wouldn’t say I had disordered eating, but my relationship with food was weird. Growing my own food helped me change my view of it as a source of nutrition and fuel. 

Close-up of a farmer holding a large, freshly harvested green cabbage as a child reaches out to touch its outer leaves.
B.C.: Where did you find the resilience to begin again? 

L.A.: You cannot do this if you’re not passionate about it. But I may just have a level of grit overall. I don’t know if it’s my astrology or circumstances, but I’m not good at giving up. Sometimes that is a positive quality, sometimes not. 

For a while, I hoped I could keep farming the land in Abiquiu because I had so much invested. It was my baby, and I didn’t want it to be over. I hated having to shelve the farmer part of me on someone else’s terms. But I thought, “I don’t have land, and you can’t farm without land.” 

Then I was unexpectedly offered a rental plot in La Puebla. And it was spring, when a farmer is like, “I should be doing stuff.” I thought, “I’m itchy. I need to be outside and sneezing.” 

So much of farming is the relationship with the land. Starting on this totally foreign plot, I was blown away that I could grow anything. It was important for my healing process to say, “Oh, I am actually good at this—without him, without that land, without anything he did.” 

Cluster of ripe, deep purple and dark red cherry tomatoes growing on the vine surrounded by green leaves.
B.C.: What has doing so much farming by hand been like? 

L.A.: Part of my connection with the land is doing a lot manually. Maybe not in the traditional sense, but I am an athlete, you know? So I need to recognize my limits, but I think I’m doing better at not injuring myself. We’ll see. 

It also causes you to slow down and humanizes the work more. It feels like when I first started farming; it’s more romantic. Is it sustainable? I don’t know yet. Does it pay my Santa Fe bills? Probably not. 

Close-up of a farmer holding a freshly harvested bunch of orange carrots, covered in dark soil with vibrant green tops intact.
B.C.: Have you faced challenges that might have been different if you were a man? 

L.A.: In my specific circumstance, if I were a man, I probably wouldn’t have had to walk away from everything. I wouldn’t have abandoned equipment and infrastructure without reimbursement. A man might feel entitled—or at least empowered—whereas I didn’t feel empowered to say, “No, this is mine, and I’m taking it all.” 

B.C.: What has growing up around farming given your children? 

L.A.: They’re not confused about where food comes from, what good food is, or how it makes you feel. 

If my son hasn’t eaten enough vegetables lately, he’ll ask me for a salad. There’s an ingrained knowing of the feeling that comes from good food—and when it’s lacking from your body, how to remedy it. That is invaluable. 

Wide view of long, straight agricultural crop rows with drip irrigation lines under a clear blue sky, flanked by large green trees.
B.C.: What are you most proud of, and what comes next? 

L.A.: I’m proud that I gave it another go and didn’t just throw in the broad fork, so to speak. 

I have some fantastical ideas of having a teaching farm someday, where people without land or farming knowledge could work a season. When I learned, I learned from an old man who didn’t have the physical capacity to do the labor anymore. He shared his knowledge and had young bodies materialize it. 

There’s so much value in acquired knowledge. Everybody doesn’t need to make all the mistakes every time. I could save someone decades of trial and error. We’re coming into uncertain times and I would love everybody to succeed at growing food. Passing that knowledge on would feel really meaningful to me. 

Story by Bevin Carnes, Santa Fe Farmers’ Market Institute
Photography by Gabriella Marks

Subscribe to TABLE Magazine’s print edition.

Radius Books in Santa Fe Is Still Radical After Nearly Two Decades

By
Abdul Rafay
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Hardcover art book titled Panûpünüwügai (Living Light) by Cara Romero, published by Radius Books.

For nearly two decades, Radius Books has shown that an art book can be much more than pages bound together. Based in Santa Fe, the nonprofit works closely with artists to create bold, thoughtful books while also making art more accessible through its wide-reaching donation program.

Radius Book Is Santa Fe’s Home for Art Books

We love artists because they liberate our notions of what’s possible and challenge our ways of seeing. Shouldn’t books about them do the same? David Chickey, founder, director, and publisher of nonprofit Radius Books in Santa Fe thinks so.

Open Radius Books art monograph featuring photography of people sitting on a vintage blue convertible car.

Each of the 240 titles in Radius’s catalog has an arresting singularity. They are bound and yet unbound. Reflecting on the nonprofit’s origins, David Chickey describes a group of friends exploring what wasn’t working in the for-profit publishing world. For instance, to boost sales, a publisher might adopt an incongruous celebrity association or conjure a merchandising hook.

“It felt so limiting in terms of what book objects are capable of doing. If you are committed to publishing an artist—their vision, ideas, and work—and expanding it with the audience, the artist is the biggest asset. So, if we do our job right, the book is a really good reflection of the artist, and it will take on very different forms. The opportunities are endless.”

Books That Reflect the Artist

One need only glance at Radius’s recently published books to feel the artist leap from the page.

Open fine art book by Radius Books displaying a portrait photograph of a woman standing in ocean waves.

In Cara Romero’s Panûpünüwügai (Living Light), published in conjunction with her solo exhibition at the Hood Museum of Art, there are textural “short-cut” pages featuring Cara’s reflections as a working artist tucked inside and existing apart from the flow of images and scholarly text.

Laurie Lambrecht, working in photography and fiber, makes “fabric prints” and then stitches and weaves them together to create new compositions. In tēxēre, overlapping pages present photo-textile combinations. Her sparse text invites meditation.

Wired: Contemporary Zulu Telephone Wire Baskets

Grey cloth tote bag printed with the white Radius Books logo being handed out at an event.

Wired: Contemporary Zulu Telephone Wire Baskets is the first book to document the development of telephone wire weaving in African art and emphasizes the superb detail and patterns of the vibrant baskets by printing them with intense focus on black paper.

In New Light

Artist Cara Romero pointing to a photograph in an open art monograph while talking with guests at a Radius Books event.

Aptly named In New Light, a book about Georgia O’Keeffe, raises questions about her work and legacy with a series of newly commissioned artistic, scholarly, and personal conversations, acknowledging that her innovation in and contribution to Modernist painting are equally as important as her persona and biography. Included is an illustrated summary of O’Keeffe’s work.

Another origin prong from that friendly roundtable nearly two decades ago was an emerging alarm that thousands of libraries in the United States were no longer prioritizing art book purchases. In a budget squeeze, the most expensive books (read: art books) don’t make the cut. “Publishers were losing that basis of sales, which made what they were publishing even riskier.”

Cover of the art book tēxēre by Laurie Lambrecht, featuring a textured textile artwork design.
Open page spread from a Radius Books monograph displaying a smooth white stone against a textured background.

Not only that, without the libraries, these books were losing a diversified audience. “Typically, art books only get into the hands of people wealthy enough to buy them, which is very limiting.”

So, how do you get these books into the hands of people who don’t have access? “You make it your mission to donate them,” David says.

Radius’s Donation Program

Inner city, rural libraries and schools, and prison systems are the foundational focus of Radius’s donation program, now 350 institutions strong, representing all 50 states and Puerto Rico, and there’s a waiting list. To date their Donation Program has gifted more than 100,000 books. ”It’s the core of what we do, however giving these books away is extremely expensive. So is making books like this and having enough staff to make the business viable.”

Open page spread from Laurie Lambrecht’s art book tēxēre showcasing detailed purple woven fabric textures.
Back cover of a Radius Books art publication listing contributing artists for Proposals for the Future.

But as with any well-run and compelling nonprofit, Radius manages the costs with grant initiatives, fundraising efforts, individual donations, and institutional partnerships. “We work within budgets, but I would rather make the most special object we can with the funding that we have at the sacrifice of making fewer copies.”

“It takes a while for people to understand the nonprofit model, even though nobody has an expectation that a museum ticket is enough to cover the cost of sharing an artist’s vision. We’re very similar,” he says.

Open art book spread displaying an intricate, colorful woven textile artwork publication.

Though Radius turns 20 in 2027, David himself admits to being a bit scrappy at heart. He’s also open to sharing the field with others, buoyed by “…a burgeoning love of the art book object and so many interesting, young, small publishing houses making books that push the envelope.” After almost two decades, Radius is still an innovator and known and respected for its deep sense of collaboration—two characteristics that never grow old.

Story by Cullen Arlington Curtiss
Photos From Radius Books

Subscribe to TABLE Magazine‘s print edition. 

Blossoms & Bones Music Festival Returns to Ghost Ranch This September

By
Abdul Rafay
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0
Wooden entrance archway welcoming visitors to the Blossoms & Bones Ghost Ranch Music Festival in Abiquiú, New Mexico.

Take an iconic setting at Ghost Ranch in historic Abiquiú, add three days of camping, glamping, and lodging, add music from well-known and up-and-coming bands and the mystical illumination of a full moon. What do you get? Blossoms & Bones, Northern New Mexico’s remarkable outdoor music festival. This September 10-12 marks the festival’s fourth year at Georgia O’Keeffe’s summer home and studio.

Blossoms & Bones Music Festival Takes Over Ghost Ranch

Festival founder and coordinator Jamie Lenfesty has a musical lineup to rival the setting, too. This year’s event opens with Cowboy Junkies, and includes appearances by Violent Femmes, The New Pornographers, and Arlo Parks, among others, with after show parties with Tone Ranger and Reyna Tropical.

“Last year, we had 2,000 people come from 44 states and 4 different countries. But when people hear festival, they think of big crowds. This event is very intimate and family friendly – 14 and under are free, and we want people to spend the weekend. We have people tell us that this is one of friendliest festivals they’ve ever attended,” says Lenfesty. “Once you’ve checked in at the front gate, there are no other checks. You can hike, go to Abiquiu Lake, take yoga classes, or ride horses, or just rest in the serene and quiet during the day, because the music is only at night. We also salute Ghost Ranch for embracing it – their incredible staff is welcoming and makes it all happen.”

Story by Kelly Koepke
Photo Courtesy of Ghost Ranch

Subscribe to TABLE Magazine‘s print edition. 

The Best Local Chocolate & Coffee Brands to Try in New Mexico

By
Kylie Thomas
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0
Various pieces of chocolate on an orange background with chocolate bark and little bars.
A banner for Ricky Allen and Tara Earley Real Estate Group.
Sponsored

Who doesn’t love to indulge on local chocolates and coffee? The scientific name for the cacao tree says it all: Theobroma. Theo from the Greek for god and broma for food. And as for caffeine, few of us can live without it! In symphony with the Greeks, the ancient Mayan and Aztecs believed that cacao was a divine gift. We couldn’t agree more. And we feel the same about coffee. Read on for some fantastic New Mexico sources for both.

Where to Get the Best Local Chocolate and Coffee in New Mexico

A person holds up a small square of chocolate by other pieces of chocolate.
Four mini chocolate bars on an orange background.

The Chocolatesmith

Chocolatesmith’s hand-poured Los Muertos candy bars are a delight with inspired combinations like Devil’s Delight (dark chocolate & raspberry), Jolly Jackalope (dark chocolate & sea salt) and Eternal Fiesta (dark red & green chile bar), with colorful wrappers illustrated by artist Stacey Sullivan. The Green Chile Pistachio & Cranberry Bark, is just one of their tempting ‘barks’ – chocolate artfully adorned with nuts, dried fruit, chile, and more chocolate.

A handful of various shaped chocolates over top of a small brown box of chocolates with a blue ribbon.

Kakawa

Kakawa creates edible art. This artisanal chocolate shop makes one of a kind creations that are as delicious as they are beautiful. Like when they take their house blend caramelized milk chocolate and turn it into Milagro heart shapes. Or when they dip D’Arbol chiles in caramel and dark chocolate – the perfect marriage of heat and sweet. They’re not afraid to craft unusual flavor combinations either, like their signature Goat Cheese and Sage Truffle (far left, round chocolate flecked with house-made sage sugar). Pure pleasure.

A glass cup of coffee beside a blue bag of coffee.

Santa Fe Gourmet Coffee

Santa Fe Gourmet Coffee is a love letter to the southwest, whether it’s their signature Piñon – a medium roast with nutty tones and a whisper of vanilla – or Pueblo Morning – a great everyday pick that’s full bodied and the perfect way to start your day.

A red bag of coffee beside a shot of espresso and a glass of coffee.

New Mexico Piñon Coffee

Since 1994 New Mexico Piñon Coffee has been roasting up a storm. They start with 100% Arabica beans and then keep it traditional or go creative with flavors like Dulce de Leche and Biscochito. They have three piñon flavors, including Dark Piñon which is roasted longer and has bittersweet notes and low acidity.

A cup of coffee beside a brown bag of coffee.

Odacrem Coffee

You could say that coffee is in Juan Mercado’s blood. The co-owner of Odacrem grew up amongst the coffee trees on a family farm in San Salvador. Odacrem is a family owned and operated business that celebrates the complex flavors and aromas of coffee with specialty blends like Costa Rica – a medium-to-light roast with hints of sweetness and notes of citrus fruit and berries.

A bag of silver coffee beside a small cup of espresso.

Aroma Coffee

Aroma Coffee’s roots are in Portland, Oregon, but Santa Fe has been its home and heart since 1994. They’re certified organic and fair trade and take their eco credentials seriously. Black Lightning – their rich French roast – has a serious cult fan base. Make a pot and we think you’ll see why.

Four bags of coffee in various colors beside cups and glasses of coffee.
About the Author

Julia Platt Leonard is Regional Editor for TABLE Magazine’s New Mexico edition, covering Santa Fe’s food, shopping, and community scene. A graduate of the Cambridge School of Culinary Arts, she has worked as a pastry chef, food consultant, and television reporter, and is co-founder of the Santa Fe International Literary Festival. She is the author of the novel Cold Case (Simon & Schuster) and has written for publications including The Independent. Reach her at julia@tablemagazine.com.

About the Stylist

Keith Recker is Editor-in-Chief and Co-Owner of TABLE Magazine. A color and trend forecaster for nearly 20 years, his clients have included Pantone, WGSN, Stylus, and the Color Association of the United States. He is the author of three books on color, including Deep Color: The Shades That Shape Our Souls and True Colors: World Masters of Natural Dyes and Pigments, and PANTONE: The Twentieth Century in Color. He is co-founder of the Open Source Colour Association, a new organization devoted to inclusive and transparent color forecasting. Earlier in his career, he was a vice president of home merchandising at Saks Fifth Avenue, Bloomingdale’s and Gump’s San Francisco. Listen to his podcast appearances at The Color Authority and EcoFashion Hub. 

Read more of his work here or contact him at keith@tablemagazine.com. Follow him on Instagram as @TheChromosapien.

About the Photographer

Dave Bryce is TABLE Magazine’s contributing architecture, interiors, and food photographer, based in Pittsburgh. He photographed Fallingwater: Living With and In Art (Rizzoli, 2025) and regularly shoots for Pittsburgh Magazine and American Farmhouse Style, working with architects, interior designers, and hospitality brands. See more at davebrycephotography.com. 

Sponsored by Ricky Allen – Tara Earley Real Estate Group

Subscribe to TABLE Magazine’s print edition.

The Charm of Wolf & Mermaid Enchanted Café in New Mexico

By
Lynn Cline
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0
The owners of Wolf and Mermaid Enchanted Cafe stand side by side in the cafe space, holding an award in the man's hand.
Owners Kate Kudynska and Scott Baird

At Wolf & Mermaid Enchanted Café, the aroma and flavor of fair-trade coffee beans—from Costa Rica, Brazil, and Vera Cruz, Mexico—are enhanced by the cafe’s connections to Old World culture and contemporary community.

Stop Into Wolf & Mermaid Enchanted Café in New Mexico

“There are coffee shops where coffee is the only thing going on,” says Scott Baird, who co-owns Wolf & Mermaid Enchanted Café with his wife, Kate Kudynska. “But we have breakfast, lunch, appetizers, matcha, tea, and a glass of wine or beer.”

And that’s not all. The cafe’s calendar of events includes Sip and Paint sessions with artist Justina Medina; Coffee Experiences about sourcing, roasting, and tasting; and live music and open mics.

“We’re like an international cafe,” Kudynska says.

A large coffee bean vat with a mixer in it.

Locations in Santa Fe and Los Alamos

Tucked away just off the Santa Fe Plaza (there’s also a cafe in Los Alamos and an outpost at the Santa Fe Regional Airport), Wolf & Mermaid Enchanted Café serves cappuccino, Americano, macchiato, and other coffee drinks.

“Leaning into the New Mexico flavors, we make the Biscochito latte, the Zo-Zo-cino latte with a little bit of red chile, and the Desert Rose latte,” Kudynska says.

A red truck in a forest full of coffee beans.

The couple met in the Hudson Valley, where Baird worked in construction and Kudynska was a molecular biologist. She immigrated to Canada from Poland at a young age, and Baird grew up in Albuquerque. After visiting his family several times, the couple moved to Santa Fe in 2022 to try something new. Inspired by coffee, the couple devoted themselves to the art of roasting small batch, single- origin blends. They started out pouring signature beverages at farmers markets, El Rancho de las Golondrinas events, and the Santa Fe International Literary Festival. Their reputation blossomed.

“We select very good flavors and roast the beans very nicely, that’s why it’s magic,” Baird says.

A spread of sandwiches next to a glass of coffee.

House-made fare is equally entrancing, from breakfast burritos, blueberry muffins, and baklava to green chile cheese croissants, and hearty lunch sandwiches. Whether you drop in solo for a cup and a snack or with friends for a meal, linger in the cafe’s whimsical interior or on the romantic patio. You’ll likely be enticed to pick up a bag or two of Wolf & Mermaid Enchanted Roasters coffee to bring the magic home.

Story by Lynn Cline
Photo courtesy of Wolf & Mermaid Enchanted Café

Subscribe to TABLE Magazine‘s print edition. 

The Art of Generosity: How New Mexico Acequia Association is Protecting Vital Waterways

By
Kylie Thomas
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0
A woman in a teal coat speaks into a megaphone microphone with glasses on top of her head.

The Art of Generosity is a storytelling series made possible through underwriting by the Santa Fe Community Foundation. Each feature shines a light on a local nonprofit shaping the cultural, social, and economic fabric of our region. By elevating these stories, the Foundation furthers its role in connecting people with the organizations and causes that help our shared home thrive. 

The New Mexico Acequia Association (NMAA), led by long-time Executive Director Paula Garcia, dedicates its 17 staff, hundreds of volunteers, and budget of approximately $2 million to protecting water rights, preserving cultural heritage, and promoting sustainable land and water practices across New Mexico. Relying on donations, foundation grants, federal funding, state contracts, and membership dues from around 300 acequias, NMAA’s programs include direct technical assistance to the mayordomos and local communities who manage local, traditional irrigation waterways known as acequias, advocate for favorable water policy, provide legal assistance, and coordinate youth education initiatives like the Acequia Culture Youth Leadership Institute and the Sembrando Semillas farm apprenticeship. 

A group of teenagers stands on both sides of a sign for the New Mexico Acequia Association.

Inside the Work of the New Mexico Acequia Association

After the Hermit’s Peak/Calf Canyon Fire in 2022 and subsequent flooding that damaged more than 80 acequias across 60 square miles in a dozen watersheds, the NMAA focused on disaster recovery and restoring the health of local watersheds. 

Of the group’s work with local communities whose farmers rely on centuries-old acequia systems to bring life-giving water to families, farmers and villages throughout the state, Garcia says “Our work around land and water is a way to honor our land-based culture and ensure future generations can thrive.”  

A woman in a blue scarf walks with a man in a blue scarf and hat with a blue ribbon.

Garcia’s personal journey is rooted in her upbringing on a 100-acre ranch in Mora, where she developed a deep love for land, water, and justice. Over her almost 30 years at the helm, she’s most proud of the fact that because of the collective advocacy she and the organization’s members have done, acequias are respected and appreciated and recognized as an important force in the communities. The NMAA’s efforts have resulted in hundreds of legal reforms, including recognition of acequia water rights and infrastructure funding, which in turn strengthens community self-determination.  

She reflects, “Community-based agriculture and watershed restoration are acts of hope and vision, and signal that acequias are not just historical relics but are shaping our future.”

Story by Kelly Koepke
Photos Courtesy of New Mexico Acequia Association (NMAA)

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New Mexico Museum of Art: A Must-Visit Destination for Art Lovers in Santa Fe

By
Star Laliberte
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A sculpture in the courtyard outside of the New Mexico Museum of Art in Santa Fe

The New Mexico Museum of Art first opened in 1917 off the Santa Fe Plaza and was the first building in the state dedicated to art. In 2023, the museum expanded its footprint to include the New Mexico Museum of Art Vladem Contemporary located in the Santa Fe Railyard Arts District. Each building offers visitors an astounding variety of artwork both from local artists as well as world renown artists. 

Explore Two Iconic Art Destinations at New Mexico Museum of Art in Santa Fe

The iconic Plaza building draws visitors both for the vast collection of but also for its Pueblo Revival style architecture and historic St. Francis Auditorium. The building is quintessentially Santa Fe. In striking contrast, the Vladem Contemporary is an innovative structure adapted from a historic warehouse. 

The front of the building of the New Mexico Museum of Art.

For more than a century, the museum has served as a destination for contemporary art in the American Southwest, growing and evolving as artists and their artwork evolve. The museum knows that art is for everyone, and seeks to foster a deeper understanding and enjoyment of art. Landmark exhibitions, public programs, events, and bringing artists of all stature offer every visitor the chance to explore the human experience through art. 

The museum’s near-constant rotation of inspiring exhibitions is a key draw for visitors. Rotating exhibitions showcase individual artists, specific collections, and even critical time periods in art history. Selections from the 20th Century Collection, a long-term exhibition on view at the Plaza building, is the museum’s centerpiece and serves as beautiful introduction to the museum. Visitors can enjoy some of the finest examples of Southwestern Art by some of the region’s most beloved artists including Fritz Scholder, Gustave Baumann, and Georgia O’Keeffe, among many others. 

An outdoor view of the Vladem Contemporary art museum in Santa Fe.

A Space for 24/7 Viewing

The Vladem Contemporary also maintains rotating exhibitions, the Window Box installation, and its Frederick Hammersley Artist-in-Residence program. Continuum: Blindfall, First Strike is a current exhibition on view that highlights the work of Virgil Ortiz (American/Cochiti Pueblo) and Eric Garcia. This show brings attention to the 1680 Pueblo Revolt and uses art to explore the relationship between Pueblo and Spanish legacies. An additional landmark exhibition opening at the Vladem Contemporary September 5, 2026, is Reclaiming the Future: The Legacy of Japanese American Incarceration. A collaboration with ten Japanese and Japanese American artists, the show traces the histories that are embedded in communities across New Mexico. A combination of sculpture, paintings, photographs, video, and mixed media, visitors can explore the relationship between history and place. 

A photo of a room with a floating white wall inside the Vladem Contemporary New Mexico Museum of Art.

The museum is also committed to offering arts programming year-round. The Window Box installation allows visitors access to a miniature exhibition 24/7, accessible by walking to the front entrance. The Artist-in-Residence program brings rising artists to the museum both to create art and to facilitate community engagement programs to increase access to new art and artists. The museum also remains committed to hosting family-friendly events including workshops, demonstrations, and artist talks. 

A women working on a painting.

Visit the New Mexico Museum of Art as a unique destination that brings the art of the world to New Mexico and the art of New Mexico to the world. 

Article Sponsored by The State of New Mexico Department of Cultural Affairs
Buidling Photography by Tira Howard
Artist Photography by Mountain Mover Media (Kaela Waldstein)

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Gallery Art Shows Coming to Northern New Mexico Fall 2026

By
Kylie Thomas
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A native person in long pink robes in front of a blue background with tent illustrations.
D.C. ALLEN (Baaa t’ – chlish, Del Curfman) (Crow Tribe of Montana), Seen Anew, Reclaiming Indigenous Landscapes

The autumn brings some stellar gallery presentations to Northern New Mexico this year. No matter if it’s full of paintings, photographs, or sculptures, these art shows introduce you to new ideas.

Fall Art Shows in Northern New Mexico 2026

A painting of a desert under a blue sky and clouds.
John Moyers, Nature’s Power

Big Summer Show

Parsons Gallery of the West, Through August 31

Celebrating New Mexico artistry, this annual celebration will show new work from over 20 local artists. This month-long exhibit held in Parson’s historic building is an announcement of summer, featuring picturesque landscapes from John Moyers, Jerry Jordan, Spike Ress and more, and romantic still lifes from Mary Dolph Wood. This show is filled with prominent Taos and surrounding-area artists, making it a celebration of community and excellence.

A painting of a white flower drooping on a red background.
Photo From Zane Bennett Contemporary Art

Fritz Scholder, The Raw Immediacy and Chromatic Vibrations of Fritz Scholder’s Prints

Zane Bennett Contemporary Art, Through September 5

Scholder’s work defies the “noble savage” trope by replacing romanticized imagery with the stark, human reality of Indigenous life within a society. Utilizing wild, Fauvist-inspired colors, his prints depict subjects navigating the unrelenting pressures of American culture. These figures, shown consuming ice cream or beer, challenge stereotypes and ultimately reveal dark and complex layers of identity in a world conditioned by Western progress.

Black wiggly lines in a vertical format and then in bumps below it.
Mark Weaver

Jessica Gross & Mark Weaver, Inter-Act

Harwood Art Center, Through September 12

The featured work of two printmakers, Mark Weaver and Jessica Gross, emerges from an engagement with materials, time, and the natural world. Weaver creates relief prints of woodcuts; these intricate black and white images range from abstract form to natural pictorials. In contrast, Gross explores the complex connections between humanity, the botanical world, and other living creatures within the landscape. Her compositions encourage observers to reevaluate their personal perceptions and ingrained beliefs regarding the environment and the diverse beings that inhabit it.

A native person in long pink robes in front of a blue background with tent illustrations.
D.C. ALLEN (Baaa t’ – chlish, Del Curfman) (Crow Tribe of Montana), Seen Anew, Reclaiming Indigenous Landscapes

The Rest is Drag

516 ARTS, Through October 10

Curated by Olivia Amaya Ortiz and featuring 13 artists, The Rest Is Drag commemorates the Route 66 centennial by exploring the iconic corridor as a vibrant site of cultural invention and visibility. Utilizing the broad definition of ‘drag’ as a tool for personal expression and societal construction, this exhibit focuses on Indigenous resurgence and LGBTQIA+ narratives within the framework of the American Dream. Through works that reclaim the highway from its mythic Americana origins, the show highlights how diverse communities have historically occupied and reimagined these spaces on their own terms.

Four marble balls in a gallery space in green and pink colors.
John Oakes, Glass Orbs

Breaking the Rules of Looking (A Touchable Art Show)

Weems Gallery, August 28 – September 26, 2026, Opening reception: August 28, 6 – 8 p.m.

Challenging the primacy of the visual, this exhibition invites visitors to engage with art through the often- neglected sense of touch. By presenting a compelling array of tactile works, the show encourages viewers to break traditional gallery rules and physically explore the textures, shapes, and materials on display. This immersive experience bridges the gap between seeing and feeling, fostering a deeper, multi-sensory understanding of the artistic form. It serves as the inaugural chapter in a broader series dedicated to activating our full sensory landscape through art.

An abstract painting of the New Mexico deserts.
Photo From OmniHum

Lama Gyurme and Laura Baum, Where Deities Reside

OmniHum, August 28 – November 1, Opening reception: August 28, 5 p.m.

Showcasing the partnership between Laura Baum of Ramah, New Mexico, and Santa Fe-based Tibetan master Lama Gyurme, this exhibition merges traditional Buddhist deities with Southwestern vistas to offer a modern perspective on Buddhist iconography. Lama Gyurme Rabgye’s fluid, spontaneous linework reacts vibrantly to Baum’s evolving “Po Mo” landscapes. Within this innovative setting, the deities dwell, serving as a poignant reminder of the holiness of our surroundings. This is art that provides the room necessary for transformation and illuminates the inherent grace in every passing second.

A brown background with two grey squares on it.
Photo From Folklore

Emelie Richardson

Folklore, September 12 – November 16

Integrating chance and improvisation into the rigorous craft of weaving, Emelie Richardson produces handwoven paintings that dissolve the distinction between fine art and traditional craft. Her process embraces the inherent unpredictability of fluid lines and forms, allowing the materials themselves to guide the final composition. Through this spontaneous approach, Richardson emphasizes the delicate variations in tonality and surface texture that emerge throughout her work.

A woman holds a mirror up to her reflection with a blue sky and ocean behind her.
Photo From Rania Matar

Rania Matar, Where Do I Go?

Obscura Gallery, October 2 – November 21, Artist reception and book signing: October 24, 1-3 p.m.

Coinciding with the 15th anniversary of the Lebanese Civil War, Matar explores the endurance of the human spirit amidst profound instability. Decentering destruction, the images are a powerful testament to resilience and humility. Her work invites the viewer to witness the quiet strength found in the wake of upheaval, bridging the chasm between personal narrative and universal experience.

A little girl stands in front of a muscle car held up with lights underneath.
Photo From Nathaniel Tetsuro Paolinelli

Jeffrey Newmann and Nathaniel Tetsuro Paolinelli

Richard Levy Gallery, October 28 – December 5, Artist reception: November 6, 6-8 p.m.

In a tribute to the legacy of Route 66, the exhibition brings together the distinctive perspectives of Jeffrey Newmann and Nathaniel Tetsuro Paolinelli. Newmann presents a collection of hyper-realistic paintings, documenting the legendary landmarks along the historic highway. Paolinelli focuses on the legacy of low rider culture, using documentary photography to illustrate the pride and meticulous artistry found within New Mexico’s automotive traditions. By focusing on the individuals who define these spaces and machines, the joint exhibition celebrates the enduring cultural heritage and community spirit of Route 66.

An illustration of people in a box with a boarder of hot air balloons and trees.
Photo From Hecho A Mano

Esther Elia

Hecho A Mano, November 6 – November 29

Inspired by Afghan textiles, Esther Elia blends ancestral traditions with modern perspectives. Her sculptures use the grid of rugs and tiles to reference Afghan war rugs, where weavers once depicted Soviet weapons. By mixing her own experience with ancient themes, she creates modern, symbolic figures of Assyrian deities.

Story by Natassja Santistevan
Featured Art From D.C. ALLEN (Baaa t’ – chlish, Del Curfman) (Crow Tribe of Montana), Seen Anew, Reclaiming Indigenous Landscapes

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