This Week in New York Insider's Guide to Arts & Culture in New York City Since 2001


Jill Johnson and Brit Rodemund in A Quiet Evening of Dance. (photo © Mohamed Sadek /  courtesy the Shed)

Jill Johnson and Brit Rodemund in William Forsythe’s A Quiet Evening of Dance (photo © Mohamed Sadek / courtesy the Shed)

The Shed
The Griffin Theater in the Bloomberg Building
545 West 30th St. at Eleventh Ave.
Through October 25, $42-$92

In May 2018, William Forsythe presented a site-specific work as part of “A Prelude to the Shed,” a preview of what New Yorkers could expect from the new arts center at Hudson Yards. The free collaboration, Tino Sehgal: This variation and William Forsythe: Pas de Deux Cent Douze, put visitors right in the middle of the action as near-total darkness evolved into a cappella singing and an energetic duet as the walls of a temporary facility opened to the street. Choreographer and visual artist Forsythe, the former head of Ballet Frankfurt who has worked independently after ending the Forsythe Company in 2015, is back at Hudson Yards with A Quiet Evening of Dance, a lovely evening-length piece continuing through October 25 at the Shed’s Griffin Theater. Consisting of new and reimagined repertory works, the hundred-minute performance is divided into two main sections, taking place on an empty stage at floor level, putting the ten dancers on equal footing with the audience.

William Forsythe’s A Quiet Evening of Dance (photo © Mohamed Sadek / courtesy the Shed)

William Forsythe’s A Quiet Evening of Dance focuses primarily but not exclusively on a series of duets (photo © Mohamed Sadek / courtesy the Shed)

The first half consists of four parts, focusing primarily on duets that are almost like a primer for Forsythe’s choreographic language, which relies heavily on the deconstruction of classical ballet, emphasizing the movement of the arms and hands and upper body. “Prologue,” featuring Parvaneh Scharafali and Ander Zabala, and “Catalogue,” with Jill Johnson and Brit Rodemund, are set in near silence, the only sounds coming from bird tweeting and the dancers’ breathing — some breathe significantly harder than others, like different sounds that emerge from tennis players in the midst of a match, though not as forceful and urgent — and their feet, which glide across the black floor in sneakers covered in wooly socks whose colors sometimes are similar to the wrist-to-biceps gloves they wear that give yet more weight to their arm movement. (The playful costumes are by Dorothee Merg.) Johnson and Rodemund’s duet also has them exploring their entire bodies in a thrilling kind of anatomy lesson. “Epilogue” follows, a series of duets in which Scharafali, Zabala, Johnson, Rodemund, Brigel Gjoka, Riley Watts, Rauf “RubberLegz” Yasit, Jake Tribus, and Roderick George (whom I saw perform a sizzling solo last year when his Pas de Deux Cent Douze partner was unable to dance with him) rotate onstage to Morton Feldman’s soft “Nature Pieces from Piano No. 1,” each dancer establishing their unique personalities: Scharafali with her casual elegance (with her hands at times in her pockets), Johnson with her stoic presence, Watts with his emotional facial gestures, Yasit with his body-twisting (though repetitive) contortions. Gjoka and Watts, moving in rare unison, conclude with “Dialogue (DUO2015)” before intermission.

(photo © Mohamed Sadek /  courtesy the Shed)

Rauf “RubberLegz” Yasit and Parvaneh Scharafali in A Quiet Evening of Dance (photo © Mohamed Sadek / courtesy the Shed)

A co-commission with Sadler’s Wells, where it debuted in October 2018, A Quiet Evening of Dance continues after intermission with “Seventeen / Twenty One,” which is not quite as quiet though just as winning as the dancers, now on a white floor, use the language they explored earlier in a more complexly structured work, set to Jean-Phillippe Rameau’s Baroque “Hippolyte et Aricle: Ritrounelle” from Une Symphonie Imaginaire. The title links the seventeenth and twenty-first centuries — Rameau was born in 1683 — as all ten dancers whirl about the stage, ranging from solos to duets to trios and then everyone coming together for a grand finale.


(photo by Matthew Murphy)

Jeremy O. Harris’s Slave Play has moved from New York Theatre Workshop to Broadway (photo by Matthew Murphy)

Golden Theatre
252 West 45th St. between Broadway & Eighth Ave.
Tuesday - Sunday through January 19, $39-$159

Over the last several years, I’ve had the privilege of seeing four terrific shows first off Broadway and then on, then on the Great White Way. In each case, nothing was lost in the transition to the bigger stage; in fact, three of them received Tony nominations for Best Play — Indecent, Pulitzer Prize recipient Sweat, and The Humans — with The Humans winning the award. (Unfortunately, the sadly overlooked Significant Other had only a short stint on Broadway.)

So at first I was surprised to hear that Jeremy O. Harris’s Slave Play, which initially ran at New York Theatre Workshop last season, was heading to the Golden Theatre for a Broadway engagement, not least because of its graphic sexual content as well as its central subject matter involving a trio of dangerous sexual interactions defined by race, gender, and power on a plantation in the Antebellum South as well as today: black slave Kaneisha (Joaquina Kalukango) and her white overseer, Jim (Paul Alexander Nolan); Alana MacGregor (Annie McNamara), the plantation owner’s wife, and her “mulatto” house servant, Phillip (Sullivan Jones); and Dustin (James Cusati-Moyer), a white indentured servant, and Gary (Ato Blankson-Wood), his black boss. Clint Ramos’s set has been expanded, with two levels of mirrored doors that open up to reveal characters and bring on and off various pieces of furniture; the MacGregor plantation is represented by a long horizontal image of the main house on the mezzanine facade that is reflected in the mirrors across the back of the stage so the audience can see itself. At NYTW, the mirrors made it feel like we were all on the plantation, making us complicit in America’s original sin of slavery.

(photo by Matthew Murphy)

Kaneisha (Joaquina Kalukango) and Jim (Paul Alexander Nolan) face issues of race, gender, and power in Slave Play (photo by Matthew Murphy)

But at the Golden, the mirrors feel more gimmicky, less insightful and condemnatory. The two-hour intermissionless play is divided into three sections, each of which now struck me as being too long and repetitive, continuing well past their expiration date. And the shock value of the brutal sex scenes and, especially, the second-act twist seemed much more tame. The cast, which is the same except for Kalukango replacing Parris — Irene Sofia Lucio and Chalia La Tour are also back as politically correct comic facilitators Patricia and Teá, respectively — is again uniformly strong, with Cusati-Moyer standing out as a white man claiming he’s not white. So what happened? Only small tweaks were made to the script and direction. Perhaps it’s the spate of works by black playwrights about the black experience in America; since Slave Play debuted at NYTW, I’ve seen Jackie Sibblies Drury’s Pulitzer-winning Fairview, Thomas Bradshaw’s Southern Promises,
Jordan E. Cooper’s 2019 Ain’t No Mo’, Suzan-Lori Parks’s White Noise, Tori Sampson’s If Pretty Hurts Ugly Must Be a Muhfucka Lynn Nottage’s By the Way, Meet Vera Stark, and Harris’s own “Daddy.”

There’s no denying that it’s a boon to the artform that so many diverse voices are now being heard onstage, both on and off Broadway, dealing with issues that must be faced in a society still teeming with institutional and systemic racism; what used to be the exception (August Wilson, Lorraine Hansberry, Ntozake Shange, Adrienne Kennedy) is quickly becoming the norm (see also Lydia R. Diamond, Dominique Morriseau, Danai Gurira, Dael Orlandersmith, and Katori Hall, among others). But maybe the shock I experienced when I first saw Slave Play has worn off a bit as the subject matter becomes more commonplace in American theater. Maybe the Golden is too large a venue for the intimacy Harris is exploring in the show. Maybe the flaws in Slave Play are more evident in this bigger production, particularly when seen for the second time. Or maybe the novelty of the play has just dissipated as more nuanced ones come along. I’m not sure any of that matters from a critical standpoint, as the producers just announced that it’s off to a solid financial start, even extending the run two weeks.


(photo by twi-ny/mdr)

Sarah Sze’s Crescent (Timekeeper) immerses visitors at Tanya Bonakdar (photo by twi-ny/mdr)

Tanya Bonakdar Gallery
521 West 21st St. between Tenth & Eleventh Aves.
Through October 19, free, 10:00 am – 6:00 pm
sarah sze slideshow

Sarah Sze has long been creating intricate, fragile ecosystems that feel like a complex construction made of giant toothpicks (and just about anything else she can find) that could come tumbling down with a mere touch. These installations have grown more detailed over time, incorporating high-tech electronic elements while expanding the breadth of its range. Her latest immersive exhibition at Tanya Bonakdar in Chelsea begins outside the gallery and continues in the hallways, large main space, back room, and upstairs, on the walls and the floors and the ceilings. There’s something everywhere, transforming parts of the gallery into her studio, revealing her extraordinary process. Originally a painter who now considers herself a sculptor, the Boston-born, New York-based artist centers the show with Crescent (Timekeeper), an exquisite work consisting of dozens of objects, from ladders, boxes, and rocks to plants, lamps, and bottles. Videos are projected onto torn pieces of paper, including a flying eagle, prowling wolves, the swirling ocean, and a burning fire, enhanced by sound as well, each open in its own internet browser, leaving it up to the viewer to make a narrative.

(photo by twi-ny/mdr)

Sarah Sze reveals some of her methodology in Tanya Bonakdar back room (photo by twi-ny/mdr)

There are no barriers to prevent you from getting too close to the delicate piece; there’s a guard situated on the other side of the room, but Sze trusts us to not wreak havoc. She also shows us what she’s doing; the hallway is filled with her notes, some of the materials she uses (tape, paint, push pins, photographs, videos), while behind Crescent (Timekeeper) is a stack of slowly turning projectors, casting light and shadows everywhere. The back room is a cluttered studio setting with boxes, painted canvases with images stuck on, water bottles, paper towels, and other general detritus — the process has become the work.

(photo by twi-ny/mdr)

A studio space offers viewers a look at Sarah Sze’s creative process (photo by twi-ny/mdr)

Upstairs is a room of four gorgeous painting collages, streaks of white paint on the floor forming a half-moon around one, as if beaming in through the skylight. Be sure to get close to the works to experience their startling depth. In the smaller, dark room, Sze lays bare her process of projecting tiny images onto a wall, revealing how she first designs them on a computer, then projects them through a sculptural form and onto the far wall. It’s utterly ingenious and wholly captivating.

Sze’s works are particularly suited to our image-saturated urban life, and especially here in New York City: Her Triple Point (Pendulum) is part of MoMA’s “Surrounds: 11 Installations” exhibition opening next week, her Blueprint for a Landscape can be seen all over the 96th St. stop on the Second Ave. subway, and her birdhouse Still Life with Landscape (Model for a Habitat) was on the High Line in 2012. And in 2006, her partially submersive Corner Plot welcomed people to the Scholars’ Gate entrance to Central Park.

(photo by twi-ny/mdr)

Paint forms a kind of floor sculpture in Sarah Sze show in Chelsea (photo by twi-ny/mdr)

In her 2018 essay “The Tattered Ruins of the Map: On Sarah Sze’s Centrifuge,” Sze’s friend, award-winning writer Zadie Smith, writes, “Like so much of Sarah Sze’s work, Centrifuge is a complex constellation of elements, in which all constituents present themselves simultaneously. . . . After the rupture, after the apocalypse, amid the ruin of cables and wires, someone might ask: what was the purpose of all of those images within and through which we lived?” This is true of her current Chelsea show, as Sze merges disparate components and artistic disciplines, both analog and digital, to forge a deep dive into the nature of time, space, and memory in a chaotic age.


(photo by Kjerstin Rossi)

Filmmaker Rodney Evans explores his increasing blindness in Vision Portraits (photo by Kjerstin Rossi)

VISION PORTRAITS (Rodney Evans, 2019)
BAMfilm, BAM Rose Cinemas
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
October 18-20

“In a lot of ways, I feel like I’m just looking for guidance in how to be a blind artist,” filmmaker Rodney Evans says in Vision Portraits, his remarkable new documentary playing October 18-20 at BAM. Evans follows three artists as they deal with severe visual impairment but refuse to give up on their dreams as he seeks experimental treatment for his retinitis pigmentosa. Manhattan photographer John Dugdale lost most of his eyesight from CMV retinitis when he was thirty-two but is using his supposed disability to his advantage, taking stunning photos bathed in blue, inspired by the aurora borealis he sees when he closes his eyes. “Proving to myself that I could still function in a way that was not expected of a blind person was really gonna be the thing,” he says. “It’s fun to live in this bliss.” Bronx dancer Kayla Hamilton was born with no vision in one eye and developed iritis and glaucoma in the other, but she is shown working on a new piece called Nearly Sighted that incorporates the audience into her story. “How can I use my art form as a way of sharing what it is that I’m experiencing?” she asks.

(photo by Kjerstin Rossi)

Dancer Kayla Hamilton is not about to let visual impairment get in the way of her career (photo by Kjerstin Rossi)

Canadian writer Ryan Knighton lost his eyesight on his eighteenth birthday due to retinitis pigmentosa, but he teaches at a college and presents short stories about his condition at literary gatherings. “I had that moment where I had a point of view now, like, I realized blindness is a point of view on the world; it’s not something I should avoid, it’s something I should look from, and I should make it my writerly point of view,” Knighton explains. Meanwhile, Evans heads to the Restore Vision Clinic in Berlin to see if Dr. Anton Fedorov can stop or reverse his visual impairment, which is getting worse.

Vision Portraits is an intimate, honest look at eyesight and art and how people adapt to what could have been devastating situations. Evans, who wrote and directed the narrative features Brother to Brother and The Happy Sad, also includes animated segments that attempt to replicate what the subjects see, from slivers of light to star-laden alternate universes. BAM is hosting several postscreening Q&As, with Evans, moderated by Kirsten Johnson, Friday at 7:30; with Evans, moderated by Imani Barbarin, Saturday at 5:00; with Evans, moderated by Jourdain Searles, Saturday at 8:30; and with Kjerstin Rossi, Mark Tumas, Hannah Buck, and Hamilton, moderated by Charmaine Warren, Sunday at 4:30.


The Second Woman repeats the same scene from John Cassavetes’s Opening Night one hundred times (photo by Heidrun Lohr)

The Second Woman repeats the same scene from John Cassavetes’s Opening Night one hundred times (photo by Heidrun Lohr)

BAM Fisher, Fishman Space, 321 Ashland Pl.
October 18, 5:00 pm - October 19, 5:00 pm, $25

Last month, Cyril Teste’s multimedia adaptation of John Cassavetes’s 1977 film Opening Night kicked off FIAF’s Crossing the Line Festival, an immersive production highlighted by the US stage debut of French star Isabelle Adjani. Cassavetes’s film stars Gena Rowlands, his wife, as a theater actress getting lost between fiction and reality during out-of-town previews of a show called Second Woman; Cassavetes plays her leading man. Now BAM is presenting another unique exploration of the film in its Next Wave Festival. Beginning at 5:00 on the afternoon of October 18 and continuing for twenty-four consecutive hours, actress Alia Shawkat (Arrested Development, Blaze) will perform the same scene from Opening Night one hundred times, each with a different man playing opposite her. (There will be short breaks at 7:00 pm and then every two hours.) Created, written, and directed by Nat Randall and Anna Breckon, Second Man features video direction by EO Gill and Breckon (there are four cameras in use), lighting by Amber Silk and Kayla Burrett, sound by Nina Buchanan, and set design by Genevieve Murray/FUTURE METHOD STUDIO.

As opposed to theater, which is live every night, a movie scene can be done over and over again until everyone involved — particularly the director and the star — is happy with the result. However, in this case, Shawkat — who in Miguel Arteta’s Duck Butter played a character on a twenty-four-hour date with another woman, making love every sixty minutes — will be caught in an endless loop, a repetition that will be different every time as the other actor changes. “The Second Woman takes as its starting point the idea that emotions and identities are culturally and historically specific, and that gender identities are defined by, and produced through, emotional cultures and norms,” Randall and Breckon explain in a program note. “Taking gender, as a particular relation to cultural power and privilege, as its focus, The Second Woman explores the ways in which gender privilege and power expresses itself through feeling.” Advance timed tickets allow entry at 5:00 and midnight on Friday and 4:00 and 8:00 am on Saturday; otherwise, you can buy tickets at the venue, and you are allowed to leave and come back at any time as space permits.


Yasuki Chiba

Yasuki Chiba’s Shitamachi is part of Film Forum series focusing on the popular downtown area of Tokyo

Film Forum
209 West Houston St.
Series runs October 18 - November 2

Tokyo’s downtown area known as Shitamachi, which means “low town,” has been a popular setting for movies since cinema began. Southeast of the Imperial Palace, it consists of small neighborhoods going back to the Edo period, filled with traditional Japanese culture particularly for the lower classes. You can explore its many facets in the Film Forum series “Shitamachi: Tales of Downtown Tokyo,” twenty-five films that take place in the geographical area seemingly invented for the movies. Running October 18 to November 7, the festival features a wide range of films, from Yasujirô Ozu’s Record of a Tenement Gentleman and Shôhei Imamura’s Eijanaika to Sadao Yamanaka’s Humanity and Paper Balloons and Nobuhiko Ôbayashi’s Reason, from Kenji Mizoguchi’s Street of Shame and Nami Iguchi’s The Cat Leaves Home to Takeshi Kitano’s Kikujiro and Ishirô Honda’s Godzilla. The series is copresented with the Japan Foundation and programmed by Aiko Masubuchi, who will introduce screenings of Tadashi Imai’s Still I Live On and Satsuo Yamamoto’s The Street without Sun, while Steve Sterner will play live piano accompaniment to Ozu’s Woman of Tokyo. Japanese master Akira Kurosawa was drawn to Shitamachi for several of his tales about class struggle, and Film Forum will be showing four of them, highlighted below.

Takashi Shimura and Toshiro Mifune star in Kurosawa noir DRUNKEN ANGEL

Takashi Shimura and Toshirô Mifune star in Akira Kurosawa noir Drunken Angel

DRUNKEN ANGEL (Akira Kurosawa, 1948)
Friday, October 18, 12:30, 4:50
Saturday, October 19, 5:10, 9:40
Wednesday, October 23, 4:20, 10:15
Friday, November 1, 9:30

The first film that Akira Kurosawa had total control over, Drunken Angel tells the story of a young Yakuza member, Matsunaga (Toshirô Mifune), who shows up late one night at the office of the neighborhood doctor, Sanada (Takashi Shimura), to have a bullet removed from his hand. Sanada, an expert on tuberculosis, immediately diagnoses Matsunaga with the disease, but the gangster is too proud to admit there is anything wrong with him. Sanada sees a lot of himself in the young man, remembering a time when his life was full of choices — he could have been a gangster or a successful big-city doctor. When Okada (Reisaburo Yamamoto) returns from prison, searching for Sanada’s nurse, Miyo (Chieko Nakakita), the film turns into a classic noir, with marvelous touches of German expressionism thrown in. The terrible incidental music lapses into melodramatic mush, preventing the film from reaching its full potential greatness, but that’s just a minor quibble.


Takashi Shimura and Toshirō Mifune team up as detectives tracking a stolen gun in Akira Kurosawa’s Stray Dog

STRAY DOG (野良犬) (NORA INU) (Akira Kurosawa, 1949)
Friday, October 18, 2:30, 8:20
Saturday, October 19, 1:20, 7:10
Thursday, October 24, 12:30, 9:45

Akira Kurosawa’s thrilling police procedural, Stray Dog, is one of the all-time-great film noirs. When newbie detective Murakami (Toshirō Mifune) gets his Colt lifted on a trolley, he fears he’ll be fired if he does not get it back. But as he searches for the weapon, he discovers that it is being used in a series of robberies and murders — for which he feels responsible. Teamed with seasoned veteran Sato (Takashi Shimura), Murakami risks his career — and his life — as he tries desperately to track down his gun before it is used again. Kurosawa makes audiences sweat, showing postwar Japan in the midst of a brutal heat wave, with Murakami, Sato, dancer Harumi Namiki (Keiko Awaji), and others constantly mopping their brows — the heat is so palpable, you can practically see it dripping off the screen. (You’ll find yourself feeling relieved when Sato hits a button on a desk fan, causing it to turn toward his face.) In his third of sixteen films made with Kurosawa, Mifune plays Murakami with a stalwart vulnerability, working beautifully with Shimura’s cool, calm cop who has seen it all and knows how to handle just about every situation. (Shimura was another Kurosawa favorite, appearing in twenty-one of his films.)


Rookie detective Murakami (Toshirō Mifune) often finds himself in the shadows in STRAY DOG

Mifune is often seen through horizontal or vertical gates, bars, curtains, shadows, window frames, and wire, as if he’s psychologically and physically caged in by his dilemma — and as time goes on, the similarities between him and the murderer grow until they’re almost one and the same person, dealing ever-so-slightly differently with the wake of the destruction wrought on Japan in WWII. Inspired by the novels of Georges Simenon and Jules Dassin’s The Naked City, Stray Dog is a dark, intense drama shot in creepy black and white by Asakazu Nakai and featuring a jazzy soundtrack by Fumio Hayasaka that unfortunately grows melodramatic in a few key moments — and oh, if only that final scene had been left on the cutting-room floor. It also includes an early look at Japanese professional baseball. Kurosawa would soon become the most famous Japanese auteur in the world, going on to make Rashomon, Ikiru, Seven Samurai, Throne of Blood, The Hidden Fortress, The Bad Sleep Well, The Lower Depths, and I Live in Fear in the next decade alone.

Takashi Shimura does a stellar job with a rare leading role in Kurosawa’s captivating melodrama IKIRU

Takashi Shimura does a stellar job with a rare leading role in Akira Kurosawa’s captivating melodrama Ikiru

IKIRU (TO LIVE) (DOOMED) (Akira Kurosawa, 1952)
Sunday, October 20, 1:20
Thursday, October 24, 4:50

In Akira Kurosawa’s 1952 gem, Ikiru, winner of a special prize at the 1954 Berlin International Film Festival, the great Takashi Shimura is outstanding as simple-minded petty bureaucrat Kanji Watanabe, a paper-pushing section chief who has not taken a day off in thirty years. But when he suddenly finds out that he is dying of stomach cancer, he finally decides that there might be more to life than he thought after meeting up with an oddball novelist (Yunosuke Ito). While his son, Mitsuo (Nobuo Kaneko), and coworkers wonder just what is going on with him — he has chosen not to tell anyone about his illness — he begins cavorting with Kimura (Shinichi Himori), a young woman filled with a zest for life. Although the plot sounds somewhat predictable, Kurosawa’s intuitive direction, a smart script (cowritten with Hideo Oguni), and a marvelously slow-paced performance by Shimura (Stray Dog, Scandal, Seven Samurai) make this one of the director’s best melodramas.

The Lower Depths is another masterful tour de force from Akira Kurosawa

The Lower Depths is another masterful tour de force from Akira Kurosawa

THE LOWER DEPTHS (DONZOKO) (Akira Kurosawa, 1957)
Saturday, November 2, 12:50, 8:40

Loosely adapted from Maxim Gorky’s social realist play, The Lower Depths is a staggering achievement, yet another masterpiece from Japanese auteur Akira Kurosawa. Set in an immensely dark and dingy ramshackle skid-row tenement during the Edo period, the claustrophobic film examines the rich and the poor, gambling and prostitution, life and death, and everything in between through the eyes of impoverished characters who have nothing. The motley crew includes the suspicious landlord, Rokubei (Ganjiro Nakamura), and his much younger wife, Osugi (Isuzu Yamada); Osugi’s sister, Okayo (Kyôko Kagawa); the thief Sutekichi (Toshirō Mifune), who gets involved in a love triangle with a noir murder angle; and Kahei (Bokuzen Hidari), an elderly newcomer who might be more than just a grandfatherly observer. Despite the brutal conditions they live in, the inhabitants soldier on, some dreaming of their better past, others still hoping for a promising future. Kurosawa infuses the gripping film with a wry sense of humor, not allowing anyone to wallow away in self-pity. The play had previously been turned into a film in 1936 by Jean Renoir, starring Jean Gabin as the thief.


Kings County Distillery at the Brooklyn Navy Yard will offer tours during Open House New York weekend (photo courtesy of Kings County Distillery)

Kings County Distillery at the Brooklyn Navy Yard will offer tours during Open House New York Weekend (photo courtesy of Kings County Distillery)

Multiple venues in all five boroughs
October 18-20, free - $5

Although $5 reservations for most of the usual suspects for the seventeenth annual Open House New York Weekend are long gone, there are still plenty of opportunities to go behind the scenes at numerous unique churches, art and design studios, universities, breweries, cultural centers, and other architectural sites, particularly if you’re willing to travel away from midtown and downtown Manhattan. There are hundreds of locations that are open for free, although you might have to wait on long lines, whereas snagging a reservation at one of the below guarantees you admission. Among the classic free sites are the Actors’ Temple, the African Burial Ground National Monument, the AT&T Long Distance Building Lobby, the Bartow-Pell Mansion Museum, the Brooklyn Army Terminal, Castle Williams on Governors Island, the Cathedral Church of St. John the Divine, Central Park’s Belvedere Castle, Central Synagogue, City Hall, Dyckman Farmhouse Museum, the Edgar Allan Poe Cottage, FDR Four Freedoms State Park, the Federal Hall National Memorial, the Fifth Avenue Presbyterian Church, Fort Tilden in the Rockaways, Fort Tryon Park Cottage & Heather Garden, the General Grant National Memorial, the General Society of Mechanics and Tradesmen of the City of New York — and that is only through the beginning of the alphabet. Reservation lines close soon, so you better hurry.

Friday, October 18
Justin Paul Inc, Brooklyn Navy Yard, Brooklyn, 9:00 am, 10:00

Big aLICe Brewing Co, Long Island City, Queens, 9:00 am, 10:30, 12:00

Kepco, Inc., Flushing, Queens, 9:30 am, 11:00 am, 3:00

Crystalyn Kae Accessories at Industry City, Industry City, Brooklyn, 9:00 am, 11:00, 1:00, 3:00

Urban Archaeology, Long Island City, Queens, 10:00 am, 11:00, 12:00

Red White and Blue Enterprises, Woodside, Queens, 10:00 am, 11:00, 12:00, 1:00, 2:00

Legion Lighting & SMASH Industries, East New York, Brooklyn, 10:00 am, 11:30, 1:00, 2:30

Tech Products, Inc., Clifton, Staten Island, 10:30 am, 1:30

Wild East Brewing Company, Gowanus, Brooklyn, 11:00 am, 12:00, 2:00, 3:00

Stickbulb at RUX Studios, Long Island City, Queens, 11:00 am, 2:00, 4:00

urbangreen, Sunset Park, Brooklyn, 1:00, 2:00

Watermark Designs, East New York, Brooklyn, 1:00, 2:00

Transmitter Brewing, Brooklyn Navy Yard, Brooklyn, 2:00, 3:00, 4:00

Caribbean Cultural Center African Diaspora Institute

Caribbean Cultural Center African Diaspora Institute offers walking tours and site-specific art during OHNY Weekend

Saturday, October 19
Morningside Park, Morningside Heights, Manhattan, 10:00 am, 1:00, 4:00

Art and Architecture at Lehman College, the City University of New York, Jerome Park, Bronx, 10:00 am, 11:30, 1:00, 2:30

COOKFOX Architects, Columbus Circle, Manhattan, 11:00 am, 12:00, 1:00, 2:00

Museum of the City of New York, East Harlem, Manhattan, 11:00 am, 12:00, 4:00, 5:00

Caribbean Cultural Center African Diaspora Institute, Harlem, Manhattan, 11:00 am, 1:00

Ridgewood Reservoir, Glendale, Queens, 11:00 am, 1:00

Friends Seminary, Gramercy, Manhattan, 11:00 am, 1:00, 3:00

Square Roots Urban Growers Inc, Bedford-Stuyvesant, Brooklyn, 11:00 am, 1:00, 3:00, 5:00

Van Cortlandt House Museum, Van Cortlandt Park, Bronx, 11:30 am, 1:30, 3:00

HLW, Garment District, Manhattan, 12:00, 1:00, 2:00, 3:00

Plymouth Church, Brooklyn Heights, Brooklyn, 12:30 - 3:00

Kings County Distillery, Navy Yard, Brooklyn, 1:00 - 4:00

Chelsea District Health Center, Chelsea, Manhattan, 2:00, 3:00, 4:00

Maison, Upper East Side, Manhattan, 2:00, 3:00, 4:00

The Delson/Transitional Service for New York, Jamaica, Queens, 2:00, 3:00, 4:00, 5:00

Sunday, October 20
Madison Square Boys & Girls Club, Upper Harlem, Manhattan, 10:00 am, 11:30, 1:00

Morningside Park, Morningside Heights, Manhattan, 10:00 am, 1:00, 4:00

Ridgewood Reservoir, Glendale, Queens, 11:00 am, 1:00

Friends Seminary, Gramercy, Manhattan, 11:00 am, 1:00, 3:00

Van Cortlandt House Museum, Van Cortlandt Park, Bronx, 11:30 am, 1:30, 3:00

Building Energy Exchange, Civic Center, Manhattan, 12:00, 1:00, 2:00

Plymouth Church, Brooklyn Heights, Brooklyn, 12:30 - 3:00

Kings County Distillery, Navy Yard, Brooklyn, 1:00 - 4:00

Grace Church High School, East Village, Manhattan, 1:30, 2:30, 3:30