Pilot Lee had been creating art for just six months when they decided to launch Scorpio Market, but in that short time, they and collaborator Kay Reynolds quickly discovered the significant barriers facing marginalized artists trying to break into the local art scene. The two disabled artists found it particularly challenging to afford market fees and were frustrated by the lack of COVID-19 safety protocols at most art events.

Determined to create change, Lee and Reynolds founded Scorpio Market as an inclusive art fair specifically designed to elevate BIPOC, queer, disabled, and emerging artists. Working with remarkable speed, they planned and executed the first Scorpio Market in just two months, hosting the inaugural event in November 2024.

The second annual Scorpio Market took place Sunday at The Tinsmith, located at 828 East Main Street, featuring over 60 artists and local organizations. The event maintained strict COVID-19 safety protocols, requiring all attendees to wear masks throughout the venue. Mask Bloc 608, a local mutual aid organization, provided free masks, COVID tests, and informational packets about COVID safety to ensure accessibility for immunocompromised community members.

One of the most significant barriers Scorpio Market addresses is the prohibitive cost of traditional art fairs. Lee explained that table fees at conventional markets typically range from $90 to $250, often exceeding what artists earn from their sales. "I have paid $325 for a particularly big market," Lee said. "You never know if you're going to make that money back." In stark contrast, Scorpio Market charges between $20 for a half table and $50 for a full table, making participation financially accessible to emerging and marginalized artists.

Accessibility extends beyond just affordability at Scorpio Market. Lee deliberately selects venues that meet specific accessibility criteria, including ground-floor locations and proximity to public transportation. The choice to hold the market on the first floor of The Tinsmith and its location near public transit routes demonstrates this commitment to removing physical barriers that might prevent disabled artists and patrons from participating.

The market featured an incredibly diverse array of artists and art forms. Tara Tschillard from Snickerdoo Studio displayed intricate chainmail mask pieces, while The Fruity Studio, a collective of queer Asian artists from Milwaukee, demonstrated how to attach charms to custom earrings. McKenna Krause of Shop Pooka showcased anime and video game-inspired pieces, with a photo of their dog Pooka serving as inspiration prominently displayed at their booth.

Many artists used their time at the market productively, with knitting and crocheting proving popular pastimes between customer interactions. Jai Deans of Jai Stitches, a University of Wisconsin-Madison student, worked on crochet trinkets and tapestry pieces, while Buwan Bun sketched between helping patrons. Olmec Aruktai, a zine artist, folded mini zines featuring doodles and portraits throughout the day.

The market's commitment to social justice was evident throughout the venue. Screenprints from Madison-based Midwestern Butch featured themes of collective liberation and solidarity. MEChA de Teejop, an organization focused on empowering oppressed people through art and activism, displayed powerful poster art. The Loud N Unchained Theater Co., a Madison-based collective of Black, Queer, Trans, Non-Binary, Mad, and Disabled Artists dedicated to gender justice, queer justice, and disability justice, offered stickers and informational materials.

Several artists appreciated the market's welcoming atmosphere for politically conscious work. GG, the artist behind Green Goodies, felt "warmly hugged" by attendees and noted that the market allowed them to display socially conscious pieces comfortably. "People's voices are left out when it's about religion or politics," they said. "It's a Midwest nice culture, and I think that we have to grow beyond that." GG's bold, unapologetic work included a commissioned piece for the Madison Public Library's 150th anniversary, playing with the etymology of "Tyrannosaurus rex" and referencing a Time Magazine cover featuring President Donald Trump.

Beyond individual artists, the market supported various community organizations. Outside the main venue, groups like the Transgender Resistance Action Committee distributed free zines covering topics such as PrEP, PEP prevention, and top surgery recovery resources. Baldwin's Books & Records, a Madison-based pop-up bookstore, created an innovative "Meet Cute" box where books were gift-wrapped with intriguing, mysterious descriptions rather than traditional covers.

The market's approach to raffles reflected its community-focused values. Instead of expensive prizes that might exclude participants, patrons could donate $5 for a ticket with stars corresponding to different prize categories. Most available items were pieces created by participating artists, keeping the focus on supporting the creative community.

Lee's booth appropriately featured a zine titled "How To Start Your Own Art Market," sharing the knowledge they'd gained from organizing Scorpio Market. The biggest lesson Lee has learned challenges conventional wisdom about accessibility in event planning. "People who hold events say, 'We can't make this accessible for the most marginalized because other people won't show up,'" Lee explained. "That's not true. Everyone will show up."

This philosophy has proven successful in practice. Lee emphasized that creating inclusive spaces actually attracts broader participation rather than limiting it. "It works to hold [an event in] a space that's accessible for the most marginalized in your community," Lee said, directly contradicting the common assumption that accommodating marginalized communities somehow excludes others.

The success of Scorpio Market demonstrates that removing barriers benefits the entire artistic community. By prioritizing affordability, physical accessibility, health safety, and social inclusion, the market has created a model that other communities could replicate. The event proves that inclusive practices don't limit participation but rather expand opportunities for artists and art lovers alike, creating a more vibrant and diverse creative ecosystem for everyone involved.