New York
Can These Six Artists Predict the Fate of the Art Market?
The spring sales of modern and contemporary art often arrive in May with a steady drumroll of paintings whose estimates soar above $50 million — a sign of confidence in the industry’s roster of ultrawealthy collectors who trade them like financial assets.
Now that drumroll sounds like rain’s pitter-patter as the world’s leading auctioneers recalibrate for an art market rocked by economic uncertainty over the last three years and contend with new challenges, like tariffs.
Of the hundreds of artworks for sale this season (including pieces by Picasso, Basquiat, Magritte and Matisse) there are only a couple above the $50 million threshold: a 1955 Giacometti bust estimated in excess of $70 million, and a potentially record-setting work by Mondrian valued at about $50 million.
But without the spectacle of dinosaurs, bananas and cryptocurrencies in their big-name evening sales, the major auction houses are headed back to basics. It is a season of conventional offerings with very few headline-grabbing estates or deals at a time when these companies are suffering from layoffs; seeking outside investments; and weathering a 20 percent decline in sales within the industry’s broader downturn that has seen global sales fall to $57.5 billion.
“The upper reaches of the market over $5 million are very quiet right now,” said Jacob King, an art adviser in New York. “Material you would have seen in the day sale is now in the evening sale.”
Despite those challenges, the auction houses are still betting on themselves to raise mountains of money within a single week at Christie’s, Sotheby’s and Phillips in New York. Their combined estimate is $1.2 billion to $1.6 billion.
“Last season was a tough one because we had to put together the sales brick by brick,” Lisa Dennison, a top executive at Sotheby’s, said of the November auctions. “Going into the May sales, we did feel the pipeline flowing a bit more.”
Drew Watson, head of art services at Bank of America Private Bank, pointed out that some of the largest consignments of the season were announced in April, after President Trump’s tariffs went into effect — giving some reason for optimism. “You would expect that if people were really bearish about the art market right now that a lot of those high-end lots would not be coming to the market,” he said.
But the market remains soft, and new ultrawealthy collectors scarce, increasing the pressure on auction houses to perform. Here are six bellwether artworks in the evening sales that may indicate the health of the art market.
Alberto Giacometti
“Grande tête mince (Grande tête de Diego)” (1955), in excess of $70 million, Sotheby’s Modern Evening Auction, Tuesday
Giacometti was toward the end of his career when he created this bronze bust of his brother Diego, the artist’s studio assistant and muse. The sculpture has the highest estimate in New York’s spring sales and comes without a minimum financial guarantee from either Sotheby’s or a third party to ensure the artwork sells, as is typical with expensive lots. The seller, the Soloviev Foundation, a nonprofit founded by the real estate tycoon Sheldon Solow, stands to receive a bigger payout if the work sells for its estimate.
Solow, who died in 2020, acquired the work in 1980 from the Maeght family, which established the first private art foundation in France, the Fondation Maeght. The foundation is offloading the bust to support its philanthropies, which include the Metropolitan Museum of Art and Henry Street Settlement, according to its website.
“This one has always been the mother lode,” Simon Shaw, a Sotheby’s executive who helped arrange the sale, said of the Giacometti, which was cast during the artist’s lifetime. He described it as a “great sculpture in the season where it would be the most exciting thing available by some significant margin.”
Another cast of the artwork sold at Christie’s in 2010 for $53.3 million; adjusted for inflation, the price today would be $78.1 million, suggesting the artwork has appreciated very little in the last 15 years. Experts said the one being offered at Sotheby’s could sell for more because it is the only painted cast in the series.
Piet Mondrian
“Composition With Large Red Plane, Bluish Gray, Yellow, Black and Blue” (1922), about $50 million, Christie’s, Leonard & Louise Riggio: Collected Works, Monday
When the Barnes & Noble founder Leonard Riggio died last year, he and his widow, Louise, had acquired an immense art collection, championing blue-chip minimalist art and donating to nonprofits like the Dia Foundation, as well as modern paintings by masters like Pablo Picasso, Rene Magritte and Fernand Léger that hung in their Park Avenue apartment.
Louise decided to sell the apartment and consign nearly 40 artworks to Christie’s, including a Mondrian painting that will be the auction house’s most expensive artwork this season, with an estimate around $50 million.
Mondrian is considered a pioneer of European abstraction, thanks to his early experiments in color and geometry in the 1920s. These days, the financial value of his paintings is tied to the proportion of red covering the canvas, making the Riggio example a potential record-breaker. (A previous benchmark was set in 2022 at Sotheby’s, when a similar artwork sold to an anonymous buyer for $51 million.)
But that Mondrian was sold during the market’s height, leading industry analysts to debate whether the prestige of the Riggio name can overcome the economic uncertainty at play today. The auction house has also taken a large risk in providing a guarantee for all artworks, meaning that Christie’s will need to buy in whatever fails to sell.
“They did a big house guarantee and are having trouble selling it off,” said King, the art adviser. “It’s good material, but these are big estimates and there is a lot of stuff to sell.”
Olga de Amaral
“Imagen perdida 27 (Lost Image 27)” (1996), $300,000 to $500,000, Phillips Modern and Contemporary Art evening auction, Tuesday
A tapestry by the 93-year-old Colombian artist Olga de Amaral marks her first appearance in a major New York evening auction — the latest symbol that yet another under-known female artist has moved from the fringes of the marketplace to its upper echelon.
“She’s really a rediscovery, and finally coming out of the pigeonhole,” said Jean-Paul Engelen, a Phillips executive. “She’s no longer a craft artist or a Latin artist. She’s just an artist.”
Many of the other female artists featured this season are either bona fide auction stars whose work reliably sells for millions of dollars (like Agnes Martin, Georgia O’Keeffe and Cecily Brown), or rising talents with low estimates of $100,000 or less (like Danielle Mckinney, Emma McIntyre and Ilana Savdie). De Amaral stands somewhere between them, as an established artist whose value is still climbing after the opening of her first major European museum survey at the Fondation Cartier in Paris last October.
The seller of the tapestry bought the artwork directly from de Amaral in 1996. The artist has woven grids of linen covered in gold leaf to create shimmering abstractions. Three more of her artworks are in New York’s crowded day sales, including the 2006 tapestry “Imagen Paisaje I (Landscape Image I),” which has a high estimate of $1.5 million at Sotheby’s.
That Phillips has chosen a lower-priced work for its evening sales is a sign that the auction house struggled this season to pull significant consignments from sellers, according to experts. The company’s total estimate for the evening sales is far below its competitors and its top lot — a 1984 Basquiat painting with a high estimate of $6.5 million — is almost 90 percent less than the top lot offered in last year’s equivalent sale.
“In this market, what we have, we feel we can sell well,” Engelen said.
Jean-Michel Basquiat
“Baby Boom” (1982), $20 to $30 million, Christie’s 21st Century evening auction, Wednesday
Andy Warhol
“Big Electric Chair” (1967-68), about $30 million, Christie’s 20th Century evening auction, Monday
In 1985, posters promoting a show of collaborative paintings by Andy Warhol and Jean-Michel Basquiat featured the artists posing in boxing gear, as if squaring off instead of teaming up. Four decades later, Basquiat has knocked out all competitors — including the former champion Warhol — to become a bellwether in the art market, according to Christie’s global president Alex Rotter.
“If you asked me to name one artist, it’s Basquiat,” Rotter said. “Over the past five years, he has the broadest attraction to people at different price levels.”
After a prolonged buying frenzy for Warhol paintings, most prime examples now reside in museums and private collections that are reluctant to sell. His absence in the market allowed Basquiat to become a standard-bearer because his paintings and drawings still frequently circulate.
The appearance of Warhol’s “Big Electric Chair” will test if the ultrawealthy’s appetite for the artist has shifted. It is the lone Warhol piece estimated to sell for more than $10 million this season and shows Warhol’s fascination with America’s dark underbelly. “Big Electric Chair” was featured in the artist’s first European and U.S. museum surveys. In 2019, a multicolored version of the piece sold at a Christie’s auction just above its low estimate at $19 million.
The screen print is also competing in the same price range as Basquiat’s “Baby Boom” painting — one of the artist’s most accessible works from 1982, widely considered the best year of his career. The painting is an art historical sendup of religious iconography, reinterpreting the holy family of Jesus, Mary and Joseph as the artist and his parents.
Rotter said the Basquiat painting showed the evolution of the artist’s style. “It’s ’81 where the radical Basquiat comes out. It’s ’82 where he has confidence with the radicality.”
Carroll Dunham
“Bathers Seventeen (Black Hole)” (2011-12), $250,000 to $350,000, Collection of Barbara Gladstone, Sotheby’s, Thursday
Sotheby’s is holding dedicated auctions of artwork owned by two respected gallerists on the same night, a collection from the London gallerist Daniella Luxembourg with a high estimate of $41.1 million and a more modest group once held by Barbara Gladstone, with a high estimate of $17.2 million.
Gladstone, who died last year at 89, was a generational force in the art world responsible for boosting artists like Robert Rauschenberg, Keith Haring and Elizabeth Murray into the limelight. Her namesake gallery has continued after her death, with four remaining partners running six locations around the world.
There are only two artists in the dozen lots offered at Sotheby’s that are still represented by the gallery: Alighiero Boetti and Richard Prince.
Another artist, Carroll Dunham, disappeared from the gallery’s website only a few weeks ago. Gladstone had held more than a dozen exhibitions of Dunham’s artwork since 2004. (A spokesperson for Gladstone Gallery did not reply to requests for comment.)
That subtle change has brought some intrigue to the sale of his painting “Bathers Seventeen (Black Hole).” Although the work is estimated below his auction record of $591,000 in 2017 for “Integrated Painting Seven,” Gladstone’s personal ownership of “Bathers” could provide a boost.
“Works from her collection coming up for sale are iconic examples of each artist’s work, and each is a vital piece of contemporary art history,” said Molly Epstein, a senior partner at the advisory firm Goodman Taft. Gladstone choosing to live with these works “gives them even greater meaning,” Epstein added.
Professor Sanjay Reddy had been bluntly critical for years about how his university, the New School in New York City, managed its finances. He had thought that his status as a tenured professor of economics would protect him.
It didn’t.
He was laid off in June, along with 18 other New School professors, nine of whom also had tenure. The layoffs are part of an ongoing restructuring at the New School that administrators have said will rescue it from a crisis ignited by shrinking enrollment and crippling deficits. Sixty-eight staff members were also let go. Dozens of additional faculty members have left through buyouts and early retirements, which has shrunk the full-time faculty to 387 professors from 430 a year ago.
The dismissals represent the latest round of turmoil at the downtown Manhattan institution, which was founded as the New School for Social Research in 1919 by progressive professors as an alternative to traditional universities. The New School, which has about 8,500 students, has long struggled with finances, but its latest solution, some professors say, puts its legacy and future as a social science research institution at risk.
The firing of professors amid a larger reorganization has become increasingly common at American universities, particularly since the coronavirus pandemic, said Deepa Das Acevedo, a law professor at Emory University and author of “The War on Tenure.”
Universities, she said, are increasingly acting like other employers, finding “complicated and sometimes pretextual reasons” to fire employees, even those with tenure.
“What we’re seeing at the New School is emblematic of the rising pressures on higher education as a labor market and as an industry,” she said.
The New School’s handling of the layoffs has raised questions among hundreds of prominent professors around the United States and world. They wrote a letter calling on administrators to be more transparent about how the decisions were made.
Professor Reddy’s case is “particularly concerning,” said the letter; Joseph Stiglitz, the Nobel Prize-winning Columbia University economist, is the lead signatory. “The criteria used in selecting faculty and staff for termination have not been adequately explained to the wider academic community,” the letter said.
Professor Reddy, 55, stands out because he was the only economics professor to be terminated. His department is not among the roughly two dozen programs being closed or redesigned. In The New York Times and elsewhere, Professor Reddy had repeatedly been quoted as blaming the university’s financial woes on administrative bloat and bad real estate deals, challenging the official line that the defining problem was a faculty that cost too much.
“I felt, and this was probably naïve and misguided, that I should be able to use tenure in this way,” he said in an interview. “This is what tenure is for. It’s within my professional competence as an economist.”
He was stunned, he said, when he was given two options: step down by July 1 and sign a nondisclosure agreement in exchange for 11 months’ severance, or be terminated, with his last day in December. He chose the latter.
Richard Kessler, the New School’s provost, declined to comment on Professor Reddy’s situation, citing privacy rules. But he said that the university had determined that the economics department, which has nine full-time faculty members, “has more teaching capacity than we have need for.”
He defended the layoff decisions as a whole. About 30 additional professors at the university who could have been laid off, he said, were found new positions instead.
“It was a remarkably extensive, and I feel, without any qualifications whatsoever, thoughtful process,” he said.
Paul Kottman, a tenured comparative literature scholar and the chair of the master’s program in liberal studies at the New School, was also terminated. He was asked to continue leading his program until his last day in December. The program, he said, had just received praise in a review process, as did his leadership of it.
The layoffs could set a dangerous precedent, Dr. Kottman said, particularly because they are happening in the center of New York City at an institution known for its commitment to academic freedom. “If my tenured position didn’t protect me, then who does it protect?” he said.
In an interview, Mr. Kessler said that the New School felt it had the right to fire tenured employees, even if their department or program wasn’t ending, because it was reorganizing the entire institution.
Before July 1, the New School consisted of four colleges. Now, Parsons School of Design and the College of Performing Arts have become a single, arts-focused college. A second college merges the New School for Social Research, which is the academic graduate school, and the Eugene Lang College of Liberal Arts, the undergraduate college.
The new structure is designed to reduce costs and increase collaboration, said Mr. Kessler, a musician who was formerly the dean of the performing arts school.
There’s disagreement over whether such a restructuring permits the broad firing of tenured professors. The American Association of University Professors, a nonprofit organization, has shaped the national norms of tenure since 1940. It holds that tenured professors, unless they are being fired for cause, should be let go only in the case of a financial emergency, and only as part of the elimination of their academic program or department.
“A bureaucratic restructuring that leads to the selective elimination of faculty members really puts academic freedom in jeopardy,” said Mark Criley, a senior program officer in the association’s Department of Academic Freedom, Tenure and Governance. It particularly imperils professors “who have displeased administrators or trustees or donors,” he said.
But tenure norms are not laws, and the New School said it was abiding by its faculty handbook, which states that tenured faculty may be let go if there are “serious financial considerations or curricular change(s)” that require the university “to discontinue an academic department/program or college/school.”
Professor Reddy, who has been a faculty member for 17 years, disputed that interpretation. “They’ve used a very innovative and elastic legal theory, a heroic legal theory, you might say, to justify this,” he said.
Nearly all of the terminated faculty members were at the New School for Social Research and at Eugene Lang, because they have had larger enrollment declines than the arts-focused schools, Mr. Kessler said. The university has also paused nearly all Ph.D. admissions, which most affects the social research graduate school.
The History Department is among the most affected: Three professors were laid off, and two are taking early retirement under pressure, said Jeremy Varon, one of the retiring professors. Five professors will remain — “not enough to competently deliver a curriculum,” Professor Varon said.
Mr. Kessler said the cuts reflected that the university had already shifted toward art and design. Between 70 and 80 percent of students are coming to the New School “for some form of design education or creative education,” mostly at Parsons, he said.
Yet most tenured and full-time professors, who are more expensive to the university, work in the social sciences and liberal arts. Parsons, by contrast, relies heavily on part-time adjunct instructors.
“At some point in time, any organization has to take steps to bring the expenses in line with the revenues and also figure out how to plan for the future and essentially invest in strength,” Mr. Kessler said.
Koray Caliskan, a sociologist at Parsons who teaches strategic design and management, saw the restructuring in a positive light. The social sciences, he said, aren’t being lost at Parsons, because they are part of the curriculum for design students. The sweeping redesign of the colleges, he added, could open the way for innovative new doctoral programs.
But Judith Friedlander, a former New School dean and the author of a history of the institution, described the restructuring as a frontal attack on the university’s progressive, social research core.
“It no longer represents what this institution stood for and was about,” she said.
Midtown Manhattan is known for many things: packed sidewalks, Broadway theaters, the commercial cacophony that is Times Square. It is, as a rule, a neighborhood I try to steer clear of unless I am seeing a show, or being paid to be in our newsroom.
But this bustling corridor at the sweaty heart of New York City is also home to a surprising number of great bookstores. These literary oases offer a respite from the clamor of the streets — places to escape the madding crowds for a browse, maybe pick up a sweet treat and recharge before you plunge back into the fray, with your next great read in hand.
Whether you’re a tourist visiting New York or a local looking for a lunch-break escape, we’ve put together a mini walking tour that shows off the neighborhood at its bookish best. You could make a day of it and visit all seven spots in an afternoon, or keep this as a running to-do list to check off this summer. (And if you’re craving more literary adventures, I’ve got good news! Midtown is just the beginning: We have itineraries for other New York neighborhoods coming your way soon.)
Estimated walking time: 40 minutes, 1.7 miles
1 McNally Jackson (Rockefeller Center)
An independent stalwart with something for everyone.
Founded in 2004, McNally Jackson is one of the pillars of New York’s independent bookstore scene. From its original storefront in NoLIta (now shuttered, and replaced by a SoHo flagship a few blocks away), the store has expanded across the boroughs to its current five locations, including this roomy outpost at Rockefeller Center, which opened in 2022.
With a wide selection of genres — including an annex full of children’s books — McNally Jackson has something for the whole family, whether you want the latest best seller or are on the hunt for a classic or an overlooked gem. The stores are known for their unusual filing system: Fiction (on the second floor) is divided by the authors’ country or region of origin, with additional, more traditional genre-themed sections for fans of romance, fantasy, mysteries and more.
Sitting by a transit hub at the top of Midtown, it’s a great first port of call to get your bearings before embarking on your literary quest. Pick up a tote bag to hold all the great finds you’ll uncover on the stops to come! (If you take a peek above the register, you’ll see cardboard cutouts of Walt Whitman, Toni Morrison and Marcel Proust modeling your options.)
1 Rockefeller Plaza, 212-925-2134, mcnallyjackson.com
Open daily from 10 a.m. to 9 p.m.
No restroom available
2 Bookoff
Go treasure-hunting in their extensive used book section.
A cardboard cutout of the cheerily bulbous cartoon figure YomuYomu welcomes you to Bookoff, an American outpost of a popular Japanese used bookstore chain (the mascot’s name comes from the verb “yomu,” which means “to read”). This jam-packed resale emporium holds everything from collectible figurines to gaming consoles, CDs and DVDs to cassette tapes and vinyl. But most of the literary offerings are up on the second floor, in the huge used book section.
You could easily while away several hours digging through Bookoff’s shelves. Prices are as low as $1, and you can find some great treasures, especially on the racks of (now sadly discontinued) mass market paperbacks.
And when you’re done reading, you can always come back! Bookoff buys used books and other media, too.
49 West 45th Street, 212-685-1410, bookoffusa.com
Open daily from 10 a.m. to 8 p.m.
No restroom available
3 Kinokuniya
Japanese books and snacks with a view of Bryant Park.
Another American location of a Japanese bookseller, this store boasts three stories of books and bookish goodies (plus the most adorable tiny shopping baskets I’ve ever seen).
The first floor has a wide selection of fiction, nonfiction, children’s books and cookbooks, with a particular (but not exclusive) emphasis on Japanese culture and writers, such as the mystery author Yukito Ayatsuji and Toshikazu Kawaguchi, a beloved purveyor of the comforting East Asian subgenre known as “healing fiction.” In the basement, you’ll find Japanese language books, paper craft supplies and oodles of merch; Studio Ghibli gets its own section, guarded by a giant stuffed Totoro. And the second floor is largely devoted to manga.
Before you leave, make sure you check out the column of staff favorites, located on the first floor, which embody the store’s mission statement: “Read books. Meet people.”
1073 6th Avenue, 212-869-1700, usa.kinokuniya.com
Open Monday to Saturday from 10 a.m. to 8 p.m. and Sunday from 11 a.m. to 7:30 p.m.
Restroom available on the first floor
The best part of Kinokuniya is actually not the great selection of books: It’s the in-store cafe, located on the second floor, which offers a delicious array of Japanese goodies. Grab an onigiri or a fruit sandwich and an iced milk tea and enjoy them with a view of Bryant Park.
1073 6th Avenue, 2nd Floor, 212-764-6785, tomiznyc.com
Open Monday to Saturday from 11 a.m. to 7 p.m. and Sunday from 11 a.m. to 6 p.m.
4 Midtown Comics
A nerd’s paradise hidden in plain sight.
Blink and you might miss this mecca of fandom, whose purple awning is wedged between an empanada counter and a sandwich shop. But up the Spider-Man-bedecked stairs lies a two-story treasure trove of comics and graphic novels.
The first floor has a wide array of new releases, as well as a selection of magazines, children’s books and novels (mainly fantasy, sci-fi and horror, in keeping with the nerdy theme). Superman stands guard by the stairs, which lead to back issues and a colorful apparel and action figure section.
200 West 40th Street, 212-302-8192, midtowncomics.com
Open Monday and Tuesday from 11 a.m. to 7 p.m.; Wednesday from 8 a.m. to 9 p.m.; Thursday to Saturday from 11 a.m. to 9 p.m.; and Sunday from 12 p.m. to 7 p.m.
No restroom available
5 The Drama Book Shop
A distinguished theatrical gem steps from Broadway.
The 109-year-old Drama Book Shop nearly had to leave the stage in 2019 after being hit with the horrible one-two punch of a burst pipe and a steep rent increase. Luckily, four men (all associated with the hit musical “Hamilton”) stepped in to give the store a second act: the show’s composer, Lin-Manuel Miranda; its director, Thomas Kail; its lead producer, Jeffrey Seller; and the owner of its Broadway home, James L. Nederlander.
The store’s new iteration — designed by David Korins, the “Hamilton” set designer — opened in 2021, one block south of the original location. The warmly lit, wood-paneled space is full of handsome leather banquettes and cozy corners where someone might be scribbling the next great American musical. Just steps from Broadway, the whole store is a homage to that business we call show, with a wide selection of plays and librettos as well as books on craft and design and a biography section with potential source material. (It is also the only store on this list to have been honored with a Tony Award.)
The most striking feature is the serpentine book sculpture that winds from the front table into the rafters; there’s also a charming, miniature crochet version in a display case by the register. And if you’re in need of a pick-me-up, the coffee bar offers pastries and drinks, some of which are Broadway-themed (see: the Carolee Carmello, a salted caramel and toasted marshmallow latte as brassy as the broad herself).
266 West 39th Street, 212-944-0595, dramabookshop.com
Open Monday to Saturday from 10 a.m. to 7 p.m. and Sunday from 12 p.m. to 7 p.m.
Restroom available
6 Bryant Park Outdoor Reading Room
Curl up with a great book under the trees.
You’ve wound your way through the streets. You’ve stocked up on books. Now all you need is somewhere great to read them. If the weather is accommodating, your best option is Bryant Park, where you can pull up a metal chair in the shade of the London Plane trees and rest your feet from all that browsing.
There’s even a section of the park specifically dedicated to the written word: Head to the 42nd Street side to find the Bryant Park Reading Room, which from April to October offers plenty of umbrellas, seating and reading material in case you forgot — or just aren’t in the mood for — your own. Their racks have books for all ages, along with newspapers and magazines, all of which you’re free to borrow while in the designated area.
The Reading Room also hosts story hours, writing workshops, puzzle meet-ups and other literary confabs throughout the summer and into early fall.
42nd Street between 5th and 6th Avenues, 212-768-4242, bryantpark.org
Open daily from 11 a.m. to 7 p.m.
Restroom available (They’re some of the best public ones in the city!)
7 The New York Public Library
Escape the heat, and get your holiday shopping done early.
Too hot, rainy or oppressively humid to read outside? You’re in luck: The flagship branch of the New York Public Library is right next door. Say hello to its leonine guards, Patience and Fortitude, as you head up the stone steps.
Once inside, you can browse the exhibits; this summer, as America celebrates its 250th birthday, they include letters by Samuel Adams and Alexander Hamilton and a copy of the Declaration of Independence printed in 1776. You can snag a spot in one of the reading rooms, many of which — including the Rose Main Reading Room, one of the most stunning places in New York City to find yourself with a book and an hour to kill — are open to the public.
And if your bookstore itch hasn’t been fully scratched, head to the huge shop on the first floor, which is full of books (many of them, appropriately, New York-themed) and literary trinkets. It’s a great spot to pick up some gifts for your loved ones, or for yourself, while supporting the N.Y.P.L.
476 5th Avenue, 917-275-6975, nypl.org
Open Monday from 12 p.m. to 6 p.m., Tuesday and Wednesday from 10 a.m. to 8 p.m., and Thursday to Saturday from 10 a.m. to 6 p.m. Closed on Sunday.
Restroom available
If it’s happy hour by the time you end your crawl, head to the 14th floor of the Library Hotel to toast a bookish day well spent. Alongside upscale pub fare, the rooftop bar’s menu includes many appropriately punny cocktails, including the habanero-infused Spicy Romance, a hellfire-colored Dante’s Inferno and Tequila Mockingbird, a ginger-spiked spin on a margarita.
299 Madison Avenue, 14th Floor, 212-204-5498, bookmarkslounge.com
Open daily from 1 p.m. to 11 p.m. (kitchen closes at 9:30 p.m.)
Restroom available
When people meet Tramell Tillman, they expect him to be like Seth Milchick, the cheerfully menacing manager he plays on the Apple TV thriller “Severance.”
“After people get to know me, they’ll say, ‘Oh, my God, you’re so nice,’” said Mr. Tillman, 41, who won an Emmy Award for best supporting actor in a drama series last year. “They’re surprised I’m not the scary, authoritative guy we see in ‘Severance.’”
Mr. Tillman got the chance to show off that charisma opposite Tom Cruise in “Mission: Impossible — The Final Reckoning” last year, and he made his Broadway debut in the 2019 production of “The Great Society.” This month, he will star as a character named Bill in “Spider-Man: Brand New Day.”
He recently spent a Tuesday with The New York Times as he shopped for furniture in Hell’s Kitchen and danced through Chelsea.
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