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Frieze Art Fair A fabric room by Do-Ho Suh at the Lehmann Maupin booth. A snaking white tent designed by Brooklyn firm SO-IL kept out occasionally torrential rain at the second New York edition of the Frieze Art Fair, which opened during a break in the clouds on Thursday. Despite the weather, crowds made the trip to Randalls Island to check out work on offer from some 180 dealers and a series of related programs and exhibitions. Elsewhere in the city, a roster of other fairs also opened their doors in time for the weekend, including NADA (the nonprofit New

Installation image of Lost City Arts at the Collective.1 Design Fair. New York architect Steven Learner needed advice. While fairs like Design Miami/, which cater to collectors of 20th century and contemporary work, have popped up around the world, New York City lacked a similar event, and seeing a hole in the market, Learner decided to start his own. To bridge the knowledge gap between being an architect and being a design market impresario, he called on a group of some 13 dealers, collectors, curators, and other advisors, including fellow architect Alexander Gorlin, to help conceive a new fair. This

Photo courtesy Frieze Art Fair Alemani has organized a series of installations, talks, and other programming for the Frieze Art Fair in New York, held in a snaking tent designed by SO—IL, May 10-13. Cecilia Alemani’s favorite work of public art is Maurizio Cattelan’s massive statue of a hand that stands in front of the stock exchange in her native Milan, with every digit severed but an insouciant middle finger. While Alemani enjoys the provocation, she mostly admires the way it confounds expectations about what public art should be. Photo © Tom Medwell Cecilia Alemani As the director and curator

The Museum of Modern Art in New York announced today that it has commissioned Diller Scofidio + Renfro to plan an expasion into the former site of the American Folk Art Museum.

Photo © Michael Moran The Museum of Modern Art in New York is expected to announce today that it has selected an architect to create a design for the site of the American Folk Art Museum's former home. Last month, MoMA stated its intention to raze the small museum building, an acclaimed design by Tod Williams Billie Tsien that was completed in 2001, to make way for an expansion of its own large facility on West 53rd Street in Manhattan. Word has it that the firm likely to be named is Diller Scofidio + Renfro. It is unclear whether the

A Beacon on the East River, with its neon sign capping a jumble of buildings that represent more than 100 years of industrial architecture, Brooklyn’s Domino Sugar factory has had few visitors since shuttering more than a decade ago. But last week, guests at a fundraiser for the public art organization Creative Time got a look inside one of its main buildings. The massive hall is slated to become the center of a cultural complex flanked by residential towers in a SHoP Architects-designed plan to redevelop the factory. Creative Time board member, Jed Walentas, a principal at Two Trees (the

  Peter Murray British architect, journalist, and cyclist Peter Murray has embarked on a bike ride from Portland, Oregon, to Portland Place in London. As he makes the 4,347-mile journey with a rotating group of participants, he plans to survey the state of cycling in American cities, meet up with members of the design community, and raise funds for Architecture for Humanity and U.K. relief organization Article 25.Along the way, Murray is filing updates about his progress for Architectural Record.It was over a breakfast meeting with Architectural Record editor in chief Cathleen McGuigan that she told me she knew the

Read our preview of the new PBS documentary and then cast your vote for the building that has most influenced life in the United States. One of the 10 Buildings that Changed America: H.H. Richardson’s Trinity Church in Boston. It’s easy to take the American architectural cannon for granted. These are the structures that loom large, turning points in architectural history that also have a fixed place in pop culture. But how often does the public stop to consider why these well-known monuments were once revolutionary or reflect on how they shaped American culture? In the new PBS program 10