EditorialA wedding ensemble by the Ghanaian designer Kofi Ansah at “Africa Fashion,” a new exhibition at the Brooklyn Museum in New York, on June 23, 2023. (Elias Williams/The New York Times)
EditorialA wedding ensemble by the Ghanaian designer Kofi Ansah at “Africa Fashion,” a new exhibition at the Brooklyn Museum in New York, on June 23, 2023. (Elias Williams/The New York Times)
EditorialRachel Chavkin, the director of Larissa FastHorse’s play “The Thanksgiving Play,” speaks with some of her young actors during the making of short films for the play, at St. Francis de Sales School for the Deaf in New York, Feb. 5, 2023. (Justin J Wee/The New York Times)
EditorialRachel Chavkin, the director of Larissa FastHorse’s play “The Thanksgiving Play,” speaks with some of her young actors during the making of short films for the play, at St. Francis de Sales School for the Deaf in New York, Feb. 5, 2023. (Justin J Wee/The New York Times)
EditorialRachel Chavkin, the director of Larissa FastHorse’s play “The Thanksgiving Play,” speaks with some of her young actors during the making of short films for the play, at St. Francis de Sales School for the Deaf in New York, Feb. 5, 2023. (Justin J Wee/The New York Times)
EditorialThe rotunda of the Bourse de Commerce, designed by Tadeo Ando, with the 19th-century work “Triumphal France” above, and Urs Fischer's wax replica of the 16th-century Giambologna statue “The Abduction of the Sabine Women” below, in Paris, May 13, 2021. (Julien Mignot/The New York Times)