| Edification value |  |
|---|---|
| Entertainment value |  |
| Should you go? |  |
| Time spent | 39 minutes |
| Best thing I saw or learned | The Visitor Center focuses quite a bit on the efforts at balancing the human desire to learn from the skeletons and artifacts in the burial ground, with the human desire to treat those remains respectfully and not have them end up on dusty museum shelves for eternity. That’s a hard balance, and it’s valuable to have a glimpse into the conversations that led to the compromises they made. |
The African Burial Ground is a small monument overshadowed by the government buildings around Foley Square. As they were digging for a new federal building in 1991 they discovered bodies, and from there re-discovered a forgotten cemetery used by the city’s African American population in the late 1600s and early 1700s.
Today a corner of what used to be the cemetery is a small green open space with a black granite monument, standing in for a headstone. There aren’t any markers, of course, and if it weren’t for the signs and a series of low humps of earth, you’d probably just think it was a pocket park. It’s not the whole extent of the cemetery, as this city is sufficiently about commerce and building that it won’t let the past fully forestall progress, even when that past includes the earthly remains of slaves.
You can visit the national monument in just a few minutes. However, the as is the norm with the National Park Service, the visitor center’s exhibits are simple, thoughtful, and earnest, and merit spending some time and contemplation.
It looks at what we know about the people laid to rest at the Burial Ground — nothing in terms of written records, but quite a bit based on archaeological evidence. It also talks a bit about contemporary black residents of New York about whom we do know something, and paints an unflinching picture of the hardships they faced.
The narrative of the visitor center speaks of “ancestors” (the remains of the people they dug up) and “descendants” (the modern activists who argued for humane treatment of those remains. It forges a compelling but unproveable link– we don’t know the names of those who were buried there, and there probably isn’t enough DNA in bones that old to connect them with certainty to any living person. Without a doubt, though, they were New Yorkers, and it seems very right that there is a space in the heart of the civic center of the city to note and remember the role that they played.
The African Burial Ground is definitely not entertaining. But it is important. Every New Yorker and everyone with an interest in the city and its history should go and pay their respects.
For Reference:
| Address | 290 Broadway (Visitor Center) and corner of Duane and Elk Streets (National Monument), Manhattan |
|---|---|
| Website | nps.gov/afbg |
| Cost | Free |
Utterly unsurprisingly, there were four references to Michelle Obama in the text for the Black Fashion Designers show. Because I really miss having her in the White House, I’ll pick the Laura Smalls sundress Mrs. Obama wore on Carpool Karaoke.
If I think about the Fashion Institute of Technology (FIT), it’s generally in terms of the building — the brutalist concrete pile that jumps over 27th Street at 7th Avenue, the anchor tenant of the Garment District. I’ve walked by it many times and surely I’ve seen the sign that said “museum” — it’s pretty evident. But not being especially a part of that world, I probably just glossed over it, edited it out, walked on. The Museum Project ensures that doesn’t happen anymore. My museum-dar is now top-notch.
Through a door, the second room opened upward and outward, to about triple height, a real surprise given the subterranean location. Again black, but this was a wide-open, encompassing space filled, tastefully and carefully, with islands of beautifully dressed mannequins stretching into the distance. “Zou bisou bisou” (but not the Mad Men version) playing in the background quietly set the tone. I’ve discovered I like museums that use music subtly and cleverly to set a tone or convey a time. Here it works particularly well.
I didn’t spend a lot of time at the Museum at FIT, but that was mainly because I had a meeting to get to. Even with my fairly limited knowledge of and interest in clothing, I could’ve spent another 15 or 20 minutes. Both shows were expertly and lovingly curated and beautifully presented. I have no doubt that FIT has the resources to deliver an authoritative exhibition on any fashionable topic it cares to. And both exhibits zoomed in on subjects that the Met Fashion Institute, with its more general audience, probably wouldn’t do.
I wasn’t sure what to expect from the Museum of Chinese in America (MOCA for short). I knew the space would be great — it was designed by Maya Lin. But having recently been a bit disappointed by 
MOCA is indeed a beautifully designed museum. The space is consists of a series of rooms that surround a central open atrium, which extends from a skylight down to the classrooms, office, and restrooms on the basement level. Scarred bare brick underscores the age of the building, and its more industrial heritage. And windows carved into the rooms around the atrium ensure there’s always some natural light filtering in. The windows aren’t just openings, though: videos projected onto them make them serve a very clever dual purpose — the videos are also visible, of course, from the atrium side of the glass as well.
The educational program succeeds as well as the building does. MOCA does exactly what you’d expect: tells the story of the Chinese immigrant experience in the United States. The show is largely chronological, starting with Chinese immigration to build the railroads and the subsequent racist reactions to Chinese immigration in the 19th century, which led to laws that essentially prevented most Chinese immigration, as well as constraining the kinds of work Chinese immigrants could do.
In addition to the main space, there are two areas for temporary exhibitions. They currently feature an awesome look at Chinese food in the US, featuring about 33 chefs. Wall projections show video interviews where they speak about their lives and work and their take on “authenticity.” The museum set up one room like a banquet, with place settings for each chef that includes a short bio. This is a missed opportunity in our photogenic food-obsessed instagram age: there should be pictures of each chef’s signature dish at their setting. Still it’s a fun show, including a collection of personally meaningful objects: cleavers, cutting boards, menus, and such. Martin Yan’s wok is there, and Danny Bowien’s favorite spoon.
El Museo del Barrio is currently the northernmost of the “Museum Mile” museums, occupying a stately building on Fifth Avenue, just across 104th Street from the Museum of the City of New York. According to its website, it started in the early 1970s as a cultural center focused on Puerto Rico. It has since expanded its focus to cover all Latin American and Caribbean art and artists. After bouncing around East Harlem a bit it found its current home in the Heckscher Building in 1977.
The main show when I visited was of video art by Beatriz Santiago Muñoz, as well as selections she chose from the museum’s permanent collection. I run hot and cold with video art. On the one hand, two of the best, most memorable works of art I’ve seen in the past two years were video pieces. On the other hand, I am bored to tears with the vast majority of it. Muñoz’s work, largely non-narrative, did little for me. I lacked the eye or knowledge to understand how her selections from the permanent collection clicked with what she’s trying to do.
The other show featured recent acquisitions, definitely a common and valid theme for a museum, although given the small space available, I didn’t find it very edifying as far as key current trends in Latin or Caribbean art. I liked some of the pieces, but I also thought much of the work on view wasn’t especially “Latin.”
Without a doubt the Onassis Center was good for my vocabulary (which is very good to begin with). I picked up six new-to-me words, at least five of which I am sure I will find opportunities to use in the near future.
The Museum of the City of New York is an absolute treasure. It occupies a really lovely Georgian/Federal-style building at the northern end of Museum Mile on Fifth Avenue. The Museum started out its life in 
For all that it’s merely fake old, it’s got one of the best staircases of any museum in the city, a super-elegant curve leading up from the ground floor. Nowadays complemented by a terrific light sculpture. 
on a rotating basis. Interact with a character and you get more, potentially much more, about them and their contribution. And it’s not just human characters, you can find out about players like beavers and oysters, too. I’m often skeptical of the value of these kinds of things. Too often they are more sizzle than steak. But this impressed me a lot.
And finally, as I do wherever I can, I will mention Alexander Hamilton, who is present, larger than life size, on the facade.
This incredible 1872 punch bowl and goblets, 36 pieces and 800 ounces worth (that’s 50 pounds! 22.68kg!) of sterling silver. A gift to Isaac Newton Marks, president of the New Orleans Fireman’s Charitable Association. It’s hard to see in the picture but the stem of each goblet is a fire fighter.
The Fire Museum is like the attic of the New York City Fire Department. It’s where all the old interesting stuff is, and exploring it is very much like sifting through a collection of fire-related artifacts that someone at some point considered worth keeping. 
In addition to coins, the Numismatic Society has some paper money, including this 1855 Bank of NY note. It’s been a while since I heard the phrase “queer as a three dollar bill” but I never thought I’d actually see one.
The American Numismatic Society is the center for all things related to the world of coins and coin collecting. Their offices in Tribeca are literally a vault, with a heavily secured air lock-style entry way. There’s a noticeable difference in air pressure when you go in, too. 
The New York Public Library’s branch at Lincoln Center is easy to overlook, tucked in between the Met and the Vivian Beaumont Theater. It puts on a number of free exhibitions throughout the year, and has a fairly large space for doing so. I saw a great show celebrating the 45th anniversary of Sesame Street there a few years back.