This outpost of Seattle coffee is an excellent place to get your morning cappuccino, afternoon macchiato, or just some beans to take home. I lived in Seattle for 6 years before moving to New York and at first I was afraid the coffee here wouldn’t measure up, but lucky for me there are plenty of great places. Picking a favorite wasn’t easy!
Website
caffevita.com
Address
Caffe Vita, 124 Ludlow Street, New York, United States
Current city: New York
Zoë Williams creates otherworldly creatures that are inspired by dreams, visions, and the collective unconscious. Born in 1983 in New Orleans, LA, Zoë Williams holds a BA in Fine Art from the University of New Orleans and a Certificate in Fiber Art from the University of Washington. Her work in needle felted wool has been exhibited in galleries around the world. She currently lives and works in New York City. Portrait photo by Walt Cessna.
 

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A dark (and decidedly hip) bar on the LES, the only light at Beverly’s comes from the glow of its neon signage. The walls of this watering hole are lined with artwork by local artists, but only those whose art has previously been exhibited in galleries. The drinks are cheap and the music is good, and the vibes are perfect for hanging out, chatting, and maybe even getting drunk enough to start a dance party.
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Corner bodega with the best chopped cheese. It will blow your mind.
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Opened in 1985, The Herb Lubalin Study Center of Design and Typography was created in order to preserve an unprecedented resource, Herb Lubalin’s vast collection of work. Its goal was to provide the design community with a means to honor Lubalin, and to study his innovative work. The collection also includes work by other eminent designers including Otl Aicher, Rudi Baur, Anthon Beeke, Lucian Bernhard, Lester Beall, Will Burtin, Lou Dorfsman, Karl Gerstner, Tibor Kalman, Alvin Lustig, The Push Pin Studios, Paul Rand, Bradbury Thompson, Massimo Vignelli, and many more. There is also a library of books and magazines about design and typography, an extensive collection of posters, myriad type specimen books and pamphlets.
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In 1963, the Italian-born sculptor Costantino Nivola filled a playground that covers an entire city block with avant-garde abstractions. In the middle of an Upper Manhattan housing project, there are cuboid cutouts sculpted in cement, a fountain made with two diamond-shaped boulders, concrete play horses, and a sand-casted relief carved high into a wall. In the northeast corner, a matriarchal figure known as “The Nanny” rises from the ground. The artist’s sculptures were built in an era when urban development incorporated art in its effort to uplift communities and express democratic ideals. “A work designed for a public space is less a work of art than a civic act,” Nivola once said. “It concerns the ways in which we live together, and in which we influence each other.”
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