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This article is part of our Museums special section about how art institutions are reaching out to new artists and attracting new audiences.

You know that life in the Big Apple has changed in the last 100 years. But when was the last time you stopped to think about just how much? Or in some cases, just how little?

A new exhibition celebrating the centennial of the Museum of the City of New York will remind you.

Take for example, the commuter, Speedy, portrayed by Harold Lloyd in the 1928 silent film of the same name, and Michael Richards’s Kramer of the long-running television series “Seinfeld.” Both confront the decades-old problem of finding a satisfactory seat on a subway train, as clips of the actors’ work show.

Or consider the costumes worn by the cast in the television series “Pose,” about the city’s underground ball culture, as well as the robe and gloves worn by Robert De Niro, who starred in the film “Raging Bull,” which depicted the boxer Jake LaMotta. These characters from different eras are in their own ways synonymous with the city.

And the oldest object in the exhibition, a 1923-1924 lithograph of George Bellows’s painting “Dempsey and Firpo,” and the newest, Cheyenne Julien’s 2023 painting, “Salsa Sundays at Orchard Beach,” show how New York has inspired the creativity of countless artists over the past century.

Occupying the entire third floor of the museum — on Fifth Avenue, between 103rd and 104th Streets at the top of Manhattan’s Museum Mile — the exhibition, “This is New York: 100 Years of the City in Art and Pop Culture,” will be on display from May 26, 2023, through July 31, 2024.

Among the subjects it will explore are New York’s streets and subways; its songs; its representation by artists, photographers and filmmakers; and the space of domesticity there.

The museum was founded in 1923 by Henry Collins Brown, a Scottish-born writer and preservationist. Its original goal was to appeal to children and immigrants, to focus on exhibitions and to “emphasize the lives of ordinary New Yorkers,” according to research recently published by the Gotham Center for New York City History, which is sponsored by the Graduate Center of the City University of New York.

It first occupied Gracie Mansion, a historic home owned by the Parks Department, today the mayor’s official residence.

In 1928 the city offered the museum the site where its current home was later built, a Georgian Colonial Revival building constructed between 1929 and 1932 and designated a landmark in 1967. It underwent a 10-year renovation and modernization project that was completed in 2015.

Today the museum’s collection includes more than 750,000 objects, ranging from paintings, prints and photographs to decorative arts, toys and theatrical memorabilia.

Among its noteworthy possessions are Eugene O’Neill’s handwritten manuscripts of some of his plays; 412 glass negatives from the collection of the pioneering photographer Jacob Riis that document living conditions of the city’s poor; and the Stettheimer Dollhouse, which contains a miniature painting by Marcel Duchamp.

One highlight of the exhibition will be an exploration of the songs of New York, featuring music from the city’s five boroughs inspired by its subways and streets.

Each borough will be represented by an outline on the gallery’s floor. When people step into a specific borough, snippets of a song will be played from a speaker on the ceiling, while images or video and information about the song will be projected on the gallery wall. Music featured here will range from the Mills Brothers’ 1931 “Coney Island Washboard,” celebrating Brooklyn, to Jennifer Lopez’s 2002 paean to the Bronx, “Jenny from the Block.”

A unique feature of the “At Home in New York” section of the exhibition will be a reading room furnished with what the museum describes as “a digital bookshelf.” It will be toward the end of the gallery, filled with books and VHS or DVD boxes, all embedded with a radio frequency identification tag. Visitors can choose an item from the bookshelf and place it on a docking station at the end of the gallery that will read the bar code on the tag and project the appropriate audio or video.

Among the more than 20 books on the bookshelf will be John Cheever’s “The Enormous Radio,” read by Matthew Broderick, and “Harriet the Spy,” written and illustrated by Louise Fitzhugh and read by Lea DeLaria. Television shows will range from “The Honeymooners” and “I Love Lucy” to “Seinfeld” and “Living Single.” All works featured are set in New York and depict life at home there.

The “Destination NYC” section of the exhibition will feature works by artists and photographers — such as Edward Hopper, Romare Bearden, Nan Goldin and Faith Ringgold — depicting places where New Yorkers spend their free time, including restaurants, nightclubs, bars, parks, fire escapes, rooftops and waterfronts, such as Coney Island and Orchard Beach.

Another highlight will be “You Are Here,” an immersive film experience created in partnership with RadicalMedia, a media and communications company based in Lower Manhattan. Working with a curatorial committee of filmmakers and other experts, RadicalMedia selected more than 400 films made since the museum’s founding.

According to RadicalMedia’s chairman and chief executive, Jon Kamen, “bits and pieces” of these films, representing “sound bites of everything we appreciate and love about New York,” have been spliced together to create a 20-minute film that will be projected onto 16 screens in one of the exhibition’s galleries.

The oldest of the films featured will be “Manhandled,” a 1924 silent film starring Gloria Swanson, while the newest will be Questlove’s 2021 film, “Summer of Soul,” about the 1969 Harlem Cultural Festival, which won an Academy Award for best documentary feature and of which Mr. Kamen was an executive producer.

Sarah Henry, interim director and chief curator of the museum, said its goal since its inception has been “preserving and interpreting the memory of the past and engaging in the contemporary life of the city.”

Noting that “everyone has a love-hate relationship with the city,” she said, now “is a great moment to celebrate and rediscover New York, as we recover from the blow of the pandemic and consider where we’re heading next.”

IsIs Alex Stupak’s new $29 hot dog at Mischa worth it? The short answer is: Yes. When I tried the beef-and-pork weenie just recently, it measured eight-inches long and weighed an estimated half-pound. It refused to lie flat, glistening with fat in its snappy natural casing, crammed into a freshly baked potato bun of perfect fleecy texture and density. It’s giant.

To Stupak’s credit, the hot dog exudes a pungent hot dog taste. There are no extraneous flavors here, no duding up of the dog with funny ingredients or novel cooking methods. This frank has not been Cryovaced, nor is there a speck of ketchup in sight.

Rather, it’s accompanied by a cup of oily brisket chile, and an artist’s palette of sauces: bright brown mustard, carmine habanero-bacon crisps, green sweet-pickle relish, red kimchi, and buttercup-yellow pimento cheese. Whether you use these condiments is up to you; I tried them all, but ended up with just a schmear of mustard.

Mischa is Stupak’s month old restaurant at 157 East 53rd Street near Lexington Avenue. It appears to be part of the Hugh, the food court basement of Citicorp Center, but if you exit the E or 6 trains under the building and head for the food court, the restaurant is nowhere to be found, since it’s located up a pair of unmarked staircases at one end of the food hall.

In fact, the restaurant occupies a behemoth space that wraps around the food hall ceiling. If you part the curtains you can see it down below, the patrons scampering like mice. A bar runs along one wall of the L-shaped space, book-ended and flanked by tables, booths, and dining nooks. Around the corner is another long dining room, a bit darker, and there’s still another beyond that. The walls are decorated with whimsical and fantastical works of art, nothing like the creepy rats that adorn the East Village Empellon Al Pastor.

For my first visit, I resolved to concentrate on Jewish food riffs. Was this restaurant really an expensive deli under deep cover? The hot dog, of course, was the anchor of my theory.

But when my friend and I ordered drinks (she a greenish horseradish margarita sprouting a slice of cucumber, me a glass of Prosecco), the waiter slickly upsold us the black hummus ($19). Made from black chickpeas and black sesame seeds, it came with olive oil poured in the depression, looking like a beautiful but scary lake on another planet. Unfortunately, it tasted pretty much like a grittier version of the usual beige hummus, and was upstaged by the garlic rolls that docked beside it like spaceships waiting to take you to the rest of your meal.

The thick slab of duck mortadella ($24) was much better. Compounded with foie gras, it was lightly glazed with a date emulsion and scattered with more pistachios. It had been cut like a pie, and each wedge tasted like plain mortadella melded with the livery funkiness of seared foie gras. And it came with triangular crackers so good that they could have stood by themselves as an appetizer. One commendable feature of Mischa is the presence of house-made bread and crackers with many of the apps and entrees. Unlike many highbrow restaurants, Mischa refuses to be low carb.

The chopped lettuce salad ($19) was akin to what you might find in a deli, which came slicked with Russian dressing and draped with crisp potato shreds. If you have to eat iceberg, this is the way to go. Other deli standards on the appetizer list included deviled eggs and an onion dip furnished with crudite. There are only three pastas, but they all show Jewish and Eastern European origins. We picked the kasha varnishkes ($29), usually a pale toss of bow ties and buckwheat groats to be avoided unless your mother made them; here the pair of ingredients arrived in a buttery brown sauce bursting with flavor, the groats about to blossom like tiny flowers. But the price seemed excessive.

Finally, we arrived at the main course, just after the waiter out of earshot managed to sell my companion a $33 glass of chardonnay. The aforementioned hot dog was indeed splendid, but the Roumanian steak ($42) not quite as memorable. I’d picked it because Roumanian Jewish restaurants — quite different from delis — were common on the Lower East Side in the first half of the 20th century, and this cut of meat was the centerpiece of their menus. The soon-to-be revamped Sammy’s Roumanian was our last remaining example.

Now, the Roumanian steak is a skirt cut from the cow’s diaphragm, tasty in an organ-y sort of way, and this one was nicely done and sided with a mushroom hash topped with gribenes – crisp swatches of chicken skin and other byproducts of the schmaltz-making process. The entree is homey but not spectacular enough in my opinion for a restaurant intent on shooting off fireworks. Pick the hot dog instead.

Finally, there are the desserts. Already bursting at the seams, we tried only one: the buckwheat cake ($19), a very rich and round layer cake that looked like a sunflower on its surface, with a swatch of gold foil held skyward by a crunchy antenna. Reminding us that Stupak first gained notoriety as a pastry chef at Wd~50 20 years ago. And it’s been a long road from there to here.

Mischa

157 East 53rd Street, Manhattan, NY 10022 (212) 466-6381 Visit Website

Another members-only club has opened in New York. But unlike its predecessors, which include Soho House, Aman, Casa Cipriani, and others, the Centurion New York was designed not by an architect or hotelier — but by a credit card company.

American Express opened its first Centurion members club, an 11,500-square-foot space with wraparound views of Manhattan in March. Like the layout of a home, there are distinct spaces meant to serve different purposes: a salon, a wine bar, and casual and fine dining spaces. Even the scent — a Santal with notes of sandalwood — bathing over you after exiting the elevator was planned.

American Express brought on Michelin-starred chef Daniel Boulud to create the menu, which includes simple dishes like lobster rolls and cheesecake. The studio Yabu Pushelberg designed the interiors. The art collection, curated by Hanabi, features more than 100 pieces.

To get in, you’ll need the colloquially known “Black card” — a status-wielding card that provides perks such as elite status with hotels and airlines but is available by invitation only.

Centurion guests are discouraged from taking photos, following the policy of other members-only clubs. But unlike other clubs, Centurion’s is open to the public. An Amex Black card will get you in the door, but so will a Resy (which is owned by Amex) reservation, though Resy guests have access limited to the fine dining and studio spaces. A bar with views of the Chrysler Building is for Black Amex cardholders, said Pablo Rivero, the vice ‌president and general manager of global dining at Resy.

Though Centurion Lounge has made its mark on airports worldwide, the Centurion New York is distinctively darker and moodier than the light and bright lounges where Platinum and Black cardholders can take a break. You won’t find an all-you-can-eat buffet, showers, phone booths or playrooms for children, who aren’t allowed in the space after 6 p.m.

That’s by design, people who worked on the space said. If the airport lounge is meant to be a temporary space on a person’s journey, the Centurion New York is intended to be the opposite.

“Our intention is that it becomes a haven for our members, and it is the destination they’re going for,” said Kate Hardman, the director of global brand design at American Express.

We played with different notes of seasoning and spicing that worked very well. There are, of course, techniques that we applied that we are familiar with and confident with, and there are ideas that we may have never explored, but want to go there for the opportunity. For example, on the studio menu, we have lunch things, such as lobster rolls, because that’s something I love. I like to play with American classics, which can also be a pizza, a New York classic.

We have dishes that people can identify very well. In the studio, we have steak and mashed potatoes. I think people feel comfortable with that. There’s a sense of comfort and quality that is always in focus, and where people feel like we didn’t want them to get lost in the menu because it was trying too much to play a role they weren’t expecting in this environment or this setting.

Kate Hardman, director of global brand design

We wanted Centurion New York to feel reminiscent of a sophisticated private home, but we wanted it to feel like this informal cultural hub or meeting place for people who enjoy art, fine wine and fine dining.

Each room is meant to have its own persona. The entry is meant to feel like this portico moment, transforming you from the outside world into this inside world. The salon is meant to be akin to your living room. There’s this consistent theme running throughout, connecting to a celebration of the vibrancy of New York City since that’s where we are. We think of New York as an incubator of fashion, art, and culture, and a hub of creativity.

One Vanderbilt is an interesting building for us to open this type of space. It’s one of the most recognizable buildings in New York, it’s easy to get to and it’s in the heart of Manhattan. We’re in this environment where there are a lot of tourist attractions and restaurants around. Our task was how do we make this feel even more intimate once you get off the elevator? Throughout the design, we were able to incorporate these intimate moments, but they sit against the backdrop of 360-degree views of Manhattan. And that’s unique to One Vanderbilt. We couldn’t have gotten that elsewhere.

Pablo Rivero, vice president and general manager of global dining

We’re trying to create and deliver a destination. The destination that you have at the airport is trying to take you away from the hustle and bustle and deliver a personalized service experience. Here, it’s also a destination, but in the city. So what we need in the city differs from what you need in an airport. Here is an opportunity to unplug, have a conversation and socialize with people.

You come here, and you get to experience all of New York because you get to see it everywhere. When you create the destination, we didn’t just want to highlight one thing — we are in the city. How do we best represent the city? We’re creating a space where you can just be yourself. You want to drink or have a conversation, you can do that. If you want to have casual dining or a private event, you can do that. That’s the experience that we deliver in an elevated setting.

The main idea behind curating this collection was to imagine what a modern-day salon would be. Historically, salons were gathering places where artists from all different mediums — poets, writers, musicians, visual artists — would come together and discuss contemporary ideas.

We tried to imagine what the modern-day salon would be like. We took inspiration from New York City in the ’70s and ’80s, where societal boundaries were very blurred. The goal here was to create a collection that was a bit unexpected — a collection that was thought-provoking and a collection that spoke to their understanding of what is going on in the art world. So they recognize certain artists, and then they’re exposed to new artists. It’s meant to be a relaxed enjoyment of the various spaces.`

New York City – Her artistry and grace took center stage this spring when 21-year-old Mira Nadon stepped into a pinnacle role at the New York City Ballet as the company's first-ever Asian American female principal dancer.

"It does feel like a kind of new era in the company," Nadon told CBS News, adding that "it's a big honor and something to grow into."

Nadon began taking ballet at the age of five. Her mother, Bipasa, who was born in India, took her to classes near their home in Montclair, California.

Now, Nadon said she is honored to be a part of the company's evolution.

"That's exciting for me to have some responsibility and feel like I can do something to help, like, the culture in our company," Nadon said.

Nadon is among only five Asian American principal dancers in the company's 75-year history, which includes current dancers Chun Wai Chan and Anthony Huxley.

"We live in this really diverse city of New York City, and we haven't always been the most diverse ballet company," said Jonathan Stafford, the company's artistic director. "And so what we've been really working hard on is increasing the diversity within our ranks at every level. And what we put on stage can be an inspiration for many, many young girls out there who see her and see something in her reflected back, see something in themselves, reflected back ... She's such a wonderful role model already, even at such a young age. And she represents an important milestone for us that we hope to continue to build on."

When asked about the delay in promoting an Asian American woman to a principal dancer role, Stafford responded: "I'm not happy that it's taken so long. But I'm really grateful that we've gotten to the point where we've crossed a milestone. And I think she will continue to inspire other generations of dancers."

Stafford believes bringing in a group of more diverse dancers has brought more talent to the stage, and Nadon agrees.

"To look up at the stage and see such a variety of faces is so special," Nadon said. "And also just makes the company more interesting and even more vibrant."

Nancy Chen

Nancy Chen is a CBS News correspondent, reporting across all broadcasts and platforms.

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Michelin just won’t quit. The international dining guide, seemingly dissatisfied with a single night of awards, is out with another update to its New York guide, a running list of restaurants that inspectors are allegedly eyeing for stars and other recognitions in 2023. This time around, 17 restaurants in Manhattan, Brooklyn, and the Bronx join the list.

The latest round of award contenders includes Naro, from the team behind the Michelin-starred Korean restaurant Atomix; Jupiter, a new Italian restaurant in Rockefeller Center; Laser Wolf, the Brooklyn outpost of a popular Philadelphia skewer spot; Pranakhon, an elaborately designed Thai restaurant near Union Square; and Tobalá, which received a nod of approval from the New York Times this week.

Michelin updates its New York guide intermittently throughout the year. The new restaurants join close to 500 spots already on the list from previous years, including over a dozen added in January. Being added doesn’t guarantee a restaurant will receive single- or multiple stars, nor does it indicate one’s fate on the larger list of Bib Gourmands, Michelin’s category of more affordable establishments. Many restaurants that were added to the New York guide last year ended award night empty-handed.

If anything, the statewide guide is an indicator of recent restaurant openings Michelin and its inspectors have their eye on. As in past updates, the latest round of additions disproportionately highlights upscale Manhattan restaurants, with a hat tip to the Bronx and no mention of restaurants in Queens or Staten Island.

See the full list of new additions below:

Bōm (Flatiron)

Essential by Christophe (Upper West Side)

Flora (Park Slope)

Foul Witch (East Village)

Gab’s (West Village)

Gus’s Chop House (Cobble Hill)

House (Greenpoint)

Inga’s Bar (Brooklyn Heights)

Jupiter (Rockefeller Center)

Kebab aur Sharab (Upper West Side)

Laser Wolf (Williamsburg)

MayRee (East Village)

Moody Tongue Sushi (West Village)

Naro (Rockefeller Center)

Pranakhon (Union Square)

The Dining Room at RH Guesthouse (Meatpacking District)

Tobalá (Riverdale)