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The Art World

The Frick Returns, Richer Than Ever

After a few years away, the Frick Collection reopens with a renovated grandeur that marries Old Master power portraits to a domestic intimacy.
The New Yorker Interview

Katie Kitamura Knows We’re Faking It

The novelist discusses her new book, “Audition,” the role of performance in everyday life, and the trick of crafting a narrative that functions as a “Rorschach blot.”
Critic’s Notebook

The Shameless Redemption Tour of Jonathan Majors

In “Magazine Dreams,” the actor—who was found guilty of assault—plays a bodybuilder undone by the pressures of image-making. Majors has relied on the slippage between character and actor to facilitate his rebrand.
Photo Booth

Capturing the Spirit of a City on Fire

The photographer Andrew Friendly watched Los Angeles burn, and then come together.
The Weekend Essay

Desperate for Botox

A fiftysomething writer’s quest to get injectables.
Drinks with The New Yorker

The Play Where Everyone Keeps Fainting

Dozens of audience members have lost consciousness watching Eline Arbo’s adaptation of “The Years.” The internet has come to believe that a conspiracy is afoot.
The Current Cinema

“Warfare” Offers a Hyperrealist Rebuke of the American War Movie

Alex Garland’s latest film, which he co-directed with the former Navy SEAL Ray Mendoza, dramatizes a little-known 2006 episode from the Iraq War.
Goings On

The Evolution of Dance Theatre of Harlem

Also: Rachel Syme on the latest in charms, the Chicago rapper Saba, turtle races in Bed-Stuy, Caspar David Friedrich paired with Schumann, and more.
The Theatre

Retro Masculinity in “Glengarry Glen Ross” and “Good Night, and Good Luck”

Kieran Culkin and Bob Odenkirk try to close the deal in David Mamet’s classic, and George Clooney stars in a timely portrait of media courage.
Page-Turner

Neige Sinno Doesn’t Believe in Writing as Therapy

The French author’s award-winning memoir, “Sad Tiger,” is a richly literary and starkly shattering account of childhood sexual abuse.