By Mona Molarsky As celebrities trouped up the red carpet to the Metropolitan Museum of Art’s Costume Institute gala on May 7th, it was hard to imagine anything subversive could be happening anywhere in the museum. Paparazzi clicked and video cameras live-streamed, while Vogue editor-in-chief Anna Wintour, led a parade of stars who showed off 
By John Goodrich When America Met Modernism If the New York School marked the ascendancy of some uniquely American traits—a physical frankness, a zeal for open spaces and untamed possibilities, a practicality of expression—what, then, characterized the preceding decades of American art? The 40 paintings, sculptures, photographs and works on paper in Gerald Peters Gallery’s 
It’s still the early part of the season, the good part, when summer hours kick into effect (for the luckiest among us), before the tourist invasion starts and the city starts to heat up and emit that special odor that’s uniquely New York in August. There’s no better time to be in the city for 
Whether it’s in Manhattan or the rest of the boroughs, there is more than enough to keep your children busy in the first month of summer. ARE YOU AFRAID OF THE DARK? [Ages 6+] The Liberty Science Center kicks off summer with an illuminating new exhibit, In The Dark. Aiming to ease darkness anxiety in 
UPPER EAST SIDE Bellini, Titian and Lotto Some of the great masters from the Northern Italian Renaissance are taking up residence at The Met this summer while their home, the Accademia Carrara in Bergamo, Italy, undergoes renovations. Works by Bellini, Titian, Lotto and Vincenzo Foppa, who lived and worked between Venice, Milan and Bergamo during 
DOWNTOWN Washington Square Outdoor Art Exhibit Entering its 82nd season, the annual Washington Square Outdoor Art Exhibit is one of those New York traditions that just never gets old. The art isn’t flagrantly modern, for the most part, but it doesn’t feel tired, either. The exhibitions run the gamut; the same block may feature landscape 
by Jim Long John Chamberlain’s sculptures of crushed automobile metal are as immediately iconic as Hokusai’s wave. Careful to explain that the material he used was not found but chosen, Chamberlain conceived sculpture as groups of semichaotic modules that could be coaxed to fit, and the result seemed the most natural thing for sculpture to be: uncontrived, casual masterworks. Like de Kooning, whose 
