In the early autumn of 1898, a fortuitous accident resulted in Taos becoming a great American art colony. Having recently returned from studies in Paris, young American artists Ernest L. Blumenschein and Bert G. Phillips were on a sketching trip from Denver to northern Mexico when the wheel of their surrey broke on the mountainous road just north of Taos. The ensuing delay gave them time to become captivated by the spectacular landscape and remarkable cultures of the Taos Valley.

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In 1927 Nicolai Fechin joined the growing number of artists moving to Taos. His origins, however, were more exotic than the American-born, European-trained artists that had "discovered" Taos. Nicolai Fechin was born in 1881 in Kazan, Russia. His father was a talented woodcarver who built elaborate church altars. Fechin's talent for art grew out of his work as a young boy in his father's shop. He studied at the Art Academy in Petrograd for seven years and began teaching art himself. In 1923 he came to New York by invitation. American art patrons were already familiar with his work from his participation in international shows beginning in 1910.

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In the early part of the 20th Century, many artists were drawn to the Taos area to pursue a new, truly American art devoid of industrial influence, inspired instead by New Mexico's landscape and light and the traditional Native American and Hispanic cultures of the region. The Harwood Museum of Art collection brings to the public a unique record of this artistic convergence from its beginnings to the present day. The embracing spirit of the Harwood was set by the artist Burt Harwood and his wife Elizabeth.

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If the inconclusive date of construction (1825) for the Kit Carson House can be established, there is a history of over 175 years of occupancy to be documented within this Historic Structure Report. From the broad view of the history of the structure, two shaping forces emerged which resulted in an important cultural resource being preserved and made available for visitors to learn and from which to enjoy.

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La Hacienda de los Martinez is one of the few northern New Mexico style, late Spanish Colonial period "Great Houses" remaining in the American Southwest. Built in 1804 by Severino Martin (later changed to Martinez), this fortress-like building with massive adobe walls became an important trade center for the northern boundary of the Spanish Empire. The Hacienda was the final terminus for the Camino Real (the royal road) which connected northern New Mexico to Mexico City. The Hacienda also was the headquarters for an extensive ranching and farming operation.

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At the Millicent Rogers Museum in Taos, New Mexico, visitors enjoy outstanding historical collections of Native American jewelry, ceramics—including the Maria Martinez Family Collection, paintings, and weavings; Hispanic textiles, metalwork, and sculpture; and a wide range of contemporary Anglo-European Southwestern art.

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The Museum Association of Taos was formed to enhance the educational missions of seven Taos museums through shared resources, facilities and staff expertise, focusing on community and cultural awareness of visitors through programs and publications. Since incorporation in 1996, the Association has organized educational outreach activities including the formation of the Southwest Research Center of Northern New Mexico with funding from the Institute of Museum and Library Services' National Leadership Grant.

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