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      Mighty Shiva Was Never Meant to Live in Manhattan

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      “What if museums give back so much art that they have nothing left to display?” As a scholar of the debates about returning cultural objects to the countries from which they were stolen, I have, over the years, heard many variations of that question. “Museums have lots and lots of stuff,” I usually answer, fighting the urge to roll my eyes. “It’s not like they’re just going to shut down.”But in December, the Metropolitan Museum of Art announced it would return a substantial proportion of its Khmer-era works to Cambodia, which is claiming still more, including nearly all the museum’s major Cambodian pieces. Last month, the American Museum of Natural History indefinitely closed two of its halls in response to new federal regulations about the display of Native American sacred and burial artifacts. Now Manhattan’s Rubin Museum of Art, which features art from the Himalayas, has announced that it will close later this year. The museum says the decision is unrelated to issues of cultural repatriation, but it comes after the museum faced many accusations of cultural theft and returned some prized pieces.Clearly, I need to change my answer.When stolen artifacts go back to their rightful owners, it is now clear, some display cases will indeed empty out, some galleries will shut their doors, and entire museums may even close. But it’s worth it. Repatriating these precious items is still the right thing to do, no matter the cost.Why? Museums are supposed to educate us about other ways of being in the world. But looted artifacts alone — removed from their original context, quarantined in an antiseptic display case — cannot do this. Unlike, say, Impressionist paintings or Pop Art sculptures, ritual objects were not meant to be seen in a gallery at a time of the viewer’s choosing. Used alongside music, scents and tastes, these holy relics are tools to help participants in rituals achieve a transcendent experience. Imagine looking at a glow stick necklace and thinking it could teach you what it’s like to greet the sunrise dancing ecstatically with hundreds of strangers.The Rubin Museum, which displays art from Tibet, Nepal and elsewhere in the Himalayan region, returned two stolen objects to Nepal in 2022 and last year surrendered another, a spectacular 16th-century mask depicting one of Shiva’s manifestations. By chance, I heard the news about the Rubin’s closing while I was looking at photographs from the mask’s homecoming ceremony.The mask was one of a nearly identical pair depicting the snarling deity with golden skulls and snakes twining through blood-red hair. For centuries, they had been featured in an annual ceremony, in which worshipers sought blessings by drinking rice beer from the masks’ lips. In the mid 1990s they were both stolen from the home of the family that was entrusted to care for them when the ceremony was not underway.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Power of Cute: Sweet, Cuddly and Taking Over the World

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      There is plenty of fun and truly adorable stuff in “Cute,” a new exhibition in London. But there are some creepy and unsettling things, too.Try this: Ask someone you know to define “cute.” They are not allowed to simply give an example of a cute thing, so no babies or sweet little rabbits singing a song about being brave; they must try and give a definition for the adjective itself. See how long it takes before words give way to gestures (hands making clutching motions, arms squeezing tightly around invisible teddy-bear-size objects) or inarticulate noises (cries of anguished delight, high-pitched vowel sounds). See how long it takes before they are scrunching up their faces in what looks a lot like pain.It’s not just that the term is difficult to define, it’s that there is often a confounding gap between the smallness, or seeming irrelevance, of the cute object, and the strength and range of the feelings it invokes. Words alone don’t seem to cover it.Cuteness — its properties, its uses and its increasingly dominant position in culture — is the subject of a dazzling new exhibition in London called simply “Cute,” running at Somerset House through April 14. Not exactly a history of an aesthetic and not exactly, or not only, a collection of particularly cute commodities, the show explores the unsettling power of apparently powerless things, looking at the fantasies that cuteness enables and creates, and making us think about how and why it has come to saturate our world.“Go On and Hit a Lick of Benevolence” by Sean-Kierre Lyons. The exhibition features several works of contemporary art.David Parry/Press Association for Somerset HouseWhy does everything have to be so cute now? What does it mean that we have so enthusiastically allowed ourselves to be manipulated by an aesthetic that prioritizes the infantile, the teeny-weeny, the doe-eyed? Why, when I saw a can of Hello Kitty-branded motor oil in one of the show’s first rooms, did I desperately want to pick it up and give it a big hug while shouting, “Awwwwwww?” Why am I trying to buy one on eBay right now? I don’t even have a car.If these questions give off a strong smell of the seminar room, do not be cast down: There is plenty of fun, and truly adorable stuff, to be consumed. Just ask the group of girls who were giddily twirling around taking selfies in the Hello Kitty disco room on the morning that I visited. (The show, in fact, is sponsored by Sanrio, the Japanese company that created Hello Kitty, and is timed to coincide with her 50th birthday this year. She’s 50 years old! According to a sign at the show, she was born in London on Nov. 1, dreams of becoming a poet and is the height of five apples! She doesn’t have a mouth!)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      Protesters at the Louvre Hurl Soup at the Mona Lisa

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      Two women from an environmental group threw pumpkin-colored soup at the artwork, which is behind bulletproof glass at the Louvre and did not appear to sustain damage.Two protesters from an environmental group hurled pumpkin-colored soup on the Mona Lisa at the Louvre museum in Paris on Sunday, splashing the bulletproof glass that protects the most famous painting in the world, but not apparently damaging the work itself.As the customary crowd around the 16th-century painting by Leonardo da Vinci gasped in shock, the protesters, two young women, followed up their attack by passing under a barrier and standing on either side of the artwork, hands raised in an apparent salute.“What is more important? Art or the right to have a healthy and sustainable food system?” the activists said, speaking in French. “Our agricultural system is sick.” They were led away by Louvre security guards.It was not immediately clear how the women got the soup through the elaborate security system at the museum, which borders the Seine and contains a vast art and archaeological collection spanning civilizations and centuries.One of the women removed her jacket to reveal the words Riposte Alimentaire, or Food Response, on a white T-shirt. Riposte Alimentaire is part of a coalition of protest groups known as the A22 movement. They include Extinction Rebellion and Just Stop Oil, the group that poured tomato soup over Vincent Van Gogh’s Sunflowers at the National Gallery in London in 2022.The attack on the Mona Lisa came as French farmers have blocked roads, including approaches to Paris, in recent days to protest low wages and what they see as excessive regulation. Many new regulations in France reflect the attempt to forge a green, carbon-free European economy, an objective that the farmers consider too expensive and burdensome in the near term.The protests by the two young women and the farmers appeared to reflect two starkly different views of agriculture and the appropriate priorities for European society.Staff at the Louvre on Sunday tried to erect cloth screens to conceal the soup-splashed Mona Lisa, but the screens were not effective. Images of the attack quickly went viral on social media.The Mona Lisa has been behind glass since the 1950s, when a visitor poured acid on it. In 2019, the museum installed glass of what it said was superior transparency. Three years later, another environmental activist threw cake and cream at the painting. It was undamaged.The latest attack will heighten security concerns ahead of the Paris Olympics.The opening ceremony is just six months away and will take place on the Seine. A flotilla of boats will carry about 10,000 athletes to the foot of the Eiffel Tower, as nearly a half-million spectators, including many heads of state, line the four-mile route. The boats will sail past the Louvre as part of a ceremony conceived to showcase the beauty of Paris, but which has raised serious security issues that are still under review. More

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      A Red Velvet Bistro in an Istanbul Villa

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      Plus: jewelry handmade with Roman coins, vintage Estée Lauder fragrances and more recommendations from T Magazine.Wear ThisEstée Lauder Revives a Set of Vintage PerfumesThe Estée Lauder Legacy Collection modernizes five scents that were initially created by the company’s titular founder.Courtesy of the brandDuring the 42 years that Estée Lauder worked at her namesake company, she oversaw the creation of a dozen scents and encouraged women to create fragrance “wardrobes” tailored to every occasion and mood. The brand’s Legacy Collection, which comes out on Feb. 1, revives five of Lauder’s creations with the help of Frédéric Malle (whose perfume brand was acquired by the Estée Lauder Companies in 2015) and the perfumers Anne Flipo, Carlos Benaïm and Bruno Jovanovic, all of whom have worked with Malle on previous fragrances. During an interview inside Lauder’s well-preserved office near Central Park, Malle explained how he retooled the scents using more modern fragrance-making techniques. He noted that, in Lauder’s day, perfumers combined base scents that were “like premixed mini-perfumes” to create a final fragrance. “They contained things that weren’t necessary and created background noise,” Malle said. To update the formulas, any nonessential ingredients in those bases were stripped away — “it’s like cleaning up,” he said. The new collection has notes that range from fresh and herbaceous to musky and sweet. Azurée, initially released in 1969, evokes dry Mediterranean shores with herby notes like basil and tarragon as well as jasmine, spicy cardamom, bergamot, and cumin, which Malle amplified in his edition. For White Linen, a classic floral bouquet of rose and jasmine, Malle used pure labdanum, an ambery resin from the rockrose plant, which wasn’t available when the scent debuted in 1978. Knowing, a seductive scent from 1988, “contained a little bit of the Muzak of the ’80s,” Malle said. The modernized version is a fruity chypre with raspberries, black currant, rose and patchouli. The overall goal of the collection, Malle said, “is to revive this work and show how good Mrs. Lauder was.” The Legacy Collection is available from Feb. 1, $280, esteelauder.com.Eat HereIn Istanbul, a Red Velvet Bistro From the Owners of ArkestraLeft: this month, the owners of the Istanbul restaurant Arkestra opened Ritmo, an intimate bistro serving a menu of small plates and cocktails. Right: a dish of gochujang-flavored steak tartare served with a dollop of anchovy mayonnaise and a rice cracker.Ali Yavuz AtaWhen Debora Ipekel, a former music business executive, and her husband, Cenk Debensason, a classically trained chef, first came up with the concept for a new restaurant venture in their hometown, Istanbul, they wanted to create an experience that would encompass both their worlds. “Hospitality extends beyond serving great food — it’s about creating an atmosphere that reflects our identity,” says Ipekel. Arkestra, named after the Sun Ra Arkestra, the avant-garde jazz group formed in the 1950s, opened in September 2022. Inside a sprawling villa in the neighborhood of Etiler, a wood-paneled dining room on the ground floor serves Debensason’s varied menu of dishes like tuna sashimi with sushi rice ice cream and a seasonal mushroom risotto. On the next level is a bar called Listening Room which features lounge seating, low cocktail tables and an extensive library of vinyl records. Drawing on her career in music, Ipekel curates late-night sets alongside guests such as the Chicago disco legend Sadar Bahar and the Turkish DJ Barış K. “We want the music to be eclectic, timeless, and soulful — similar to the food we serve,” she says. This month, the villa housing Arkestra welcomed the couple’s new bistro, Ritmo. Tucked away behind velvet curtains with mirrored ceilings and Rococo furnishings, the space has a decadent, playful feel that’s complemented by the selection of snacks such as oysters with champagne sabayon and churros with spicy chocolate sauce. arkestra.com.tr.See ThisEmily Weiner’s Symbolic Paintings, on View in Nashville and Mexico CityLeft: Emily Weiner’s “Spiral (Alizarin)” (2023). Right: Weiner’s “Ad Infinitum” (2023).Courtesy of the artist and Red Arrow Gallery, Nashville. Photo: John SchweikertThe artist Emily Weiner is drawn to the sort of instantly recognizable imagery that taps into the unconscious and communicates across time. After years spent honing her style while also working as a curator and art writer, she’s lately made waves with her vibrant, almost spiritual oil paintings of urns, columns, jaunty hands and theater curtains framing ombré skies and conspicuous moons. Her new pieces, which will soon make up a solo show at Red Arrow Gallery in Nashville and feature in the inaugural group exhibition at König Galerie’s Mexico City outpost, continue in this vein while expanding her visual lexicon. On one canvas, Weiner has painted an all-encompassing aquamarine spiral that moves toward a tiny half-moon at the center; hung next to it at Red Arrow will be its fiery twin — a mirror-image spiral rendered in a rusty red. (A number of the other works are symmetrical all on their own and, fittingly, the name of the solo show, “Never Odd or Even,” is a palindrome.) Weiner, who emphasizes the eco-feminist, futurist bent of the paintings, says the spirals represent the idea of eternal return; she sees them as “cosmic fallopian tubes.” In another work, a gleaming moon can be glimpsed through a yonic slit reminiscent of a Lucio Fontana cut painting; elsewhere, receding silhouettes of faces evoke mountains or monoliths. “I was thinking about the notion that this is a tainted world that inevitably is going to be saved by a patriarchal god and trying to invert it,” says Weiner. “How can we take care of this landscape that we live in as a mother would?” “Never Odd or Even” is on view at Red Arrow Gallery, Nashville, from Feb. 3 through Feb. 24, theredarrowgallery.com; “Surreal Surroundings” is on view at König Galerie, Mexico City, from Feb. 5 through March 8, koeniggalerie.com.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      Fire Destroys Thousands of Paintings in Abkhazia

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      This Georgian region lost a collection that is considered a national treasure, but only Russia and a few allies recognize it as a nation at all.A fire in Abkhazia, a Russian-backed breakaway region of Georgia, destroyed thousands of paintings early Sunday morning, devastating a collection that locals had cherished as a national treasure — albeit of a country only recognized as such by Russia and some of its allies, including Syria and Venezuela.Almost 4,000 paintings belonging to the National Gallery of Abkhazia were destroyed when a fire swept through an exhibition hall in central Sukhumi, the region’s capital, Abkhazia’s acting culture minister said in a statement.The minister, Dinara Smyr, said that those included 300 works by Aleksandr Chachba-Sharvashidze, a celebrated Abkhazian artist and stage designer, who worked with renowned artists and theaters in Russia and France. “This is an irreparable loss for Abkhazia’s national culture,” she said. The National Gallery is more of a storage space than a museum, however.Residents rushed to the scene on Sunday to rescue paintings, but only 200 artworks were removed from the burning building. Photos from the scene, released by Apsnypress, a local news agency, showed people carrying framed canvases, some charred and burned.Local law enforcement officials said they were investigating all possible causes, including arson. The director of the gallery, Suram Sakaniya, blamed a short circuit for the fire, according to the news agency.Pictures from the scene, released by Apsnypress, a local news agency, showed people carrying framed canvases, some charred and burned, from the building.Robert Dzhpua/Associated PressWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      Former Uffizi Director Eike Schmidt Toys With Running for Mayor of Florence

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      The museum’s former director, Eike Schmidt, is toying — somewhat mischievously — with entering the race to become Florence’s mayor.Will he? Or won’t he?It’s a question that’s been buzzing at dinner parties and on street corners in Florence, and throughout the Italian art world. The “he” in question is Eike Schmidt, who until last month was the director of the Uffizi museum, and who has hinted that he might run for mayor of Florence in upcoming municipal elections.Since the summer, Schmidt has been toying — somewhat mischievously — with the idea of running with the Brothers of Italy, the hard-right majority party in the coalition that governs the country.Even after he was appointed last month as the new director of the Capodimonte Museum in Naples, a four-year posting set to begin this month, Schmidt has not clarified his intentions, except to say in an interview in an Italian newspaper that he would be unable to do both jobs at once.On Wednesday, Italy’s culture minister, Gennaro Sangiuliano, posted a photo on social media with Schmidt, and wrote in an accompanying post that there were “great plans and ideas” for the Capodimonte that he had discussed with the new director.But many still believe that Schmidt has larger aspirations and that his candidacy in Florence remains possible. The former director of the Uffizi — considered one of the world’s great museums, with instantly recognizable works by Renaissance masters like Botticelli, Leonardo and Michelangelo — has said he would make a decision this month. He declined to be interviewed for this article.“He’s a person who likes challenges,” said Giorgio Bernardini, who writes about local politics for Corriere Fiorentino, the local edition of the national daily Corriere della Sera. “And he’s a strong personality,” Bernadini added.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      Speech and Antisemitism on Campus

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      More from our inbox:If Joe Manchin Runs for President …Jill Stein’s CandidacyPrivate Art CollectionsPro-Israel demonstrators at Columbia University in New York in mid-October.Jeenah Moon/ReutersTo the Editor:Re “How Are Students Expected to Live Like This on Campuses?,” by Jesse Wegman (Opinion, nytimes.com, Nov. 8):Mr. Wegman is correct that universities cannot live up to their ideals as havens for unfettered debate when their Jewish students feel physically threatened. And he rightly suggests necessary limits on a culture of free speech, including prohibitions on harassment and targeting based on ethnic or religious identity.But it is time for a broader interrogation of the vaunted Chicago Principles he cites, which hold that the only appropriate role for a university is to stay silent on matters of public controversy so that its constituents may fully debate it.I believe that a more important principle for a university — arguably its fundamental principle — is to seek and articulate truth. And in this case, the truth is clear: Hamas is a terrorist organization, dedicated to the destruction of the state of Israel, that is not representative of the Palestinian people as a whole.To the extent the Chicago Principles prevent universities from stating that truth, they make honest debate more difficult, stain all pro-Palestinian students with the repugnant reputation of Hamas, and undermine university administrators’ ability to isolate and combat real antisemitism on campuses.There is no doubt that free expression is a paramount value in universities. But we can aspire higher. We can build our bastions of free speech on the foundational layers of moral clarity and intellectual integrity.(Rabbi) Ari BermanNew YorkThe writer is president of Yeshiva University.To the Editor:Re “What Is Happening on College Campuses Is Not Free Speech,” by Gabriel Diamond, Talia Dror and Jillian Lederman (Opinion guest essay, Nov. 11):Protecting free speech on campus requires bravery and intellectual honesty, not partisan definitions. As Jewish students, we share in the real fear surrounding the rise of violent threats against our communities. Yet, this fear cannot be addressed with definitions that marginalize legitimate Palestinian advocacy.The International Holocaust Remembrance Alliance definition of antisemitism that the authors cite, which refers to “rhetorical and physical manifestations of antisemitism,” is opposed even by several progressive, pro-Israel and Jewish organizations. Such critiques correctly cite the definition’s potential to “suppress legitimate free speech, criticism of Israeli government actions, and advocacy for Palestinian rights.”Institutions of higher education should, of course, address antisemitism; yet, adopting this broad definition would come at the expense of students’ and professors’ fundamental rights to free expression. Regardless of how uncomfortable certain phrases may make us, disagreements surrounding terminology and definitions must not be equated with the very real dangers of death threats, hate speech and physical violence.Upholding free speech requires empathy and consistency, and we must understand that intimidation and fear on campuses are real, and they are not felt only or even primarily by Jewish students.Eliana BlumbergRita FederMichael Farrell-RosenProvidence, R.I.The writers are students at Brown University.To the Editor:Re “At College, Debating When Speech Goes Too Far” (front page, Nov. 11):A key role of higher education is to nurture students intellectually and emotionally as they develop their ethical and moral compasses. Just as alumni have threatened to pull financial support of schools that do not call out terror and take a stance on antisemitism, members of university boards must require similar action.As a member of a university board of trustees whose president has publicly spoken up for morality and truth, and as an American who is shocked to see scenes unfolding that are reminiscent of 1930s Europe, I challenge all the university boards in the country to raise their voices and make their leadership accountable for what is happening on their campuses.There is zero tolerance for racism and zero tolerance for harassment of any kind on today’s campuses, and we should not rest until there is zero tolerance for antisemitism. Colleges should be places where truth is sought and where everyone feels safe. University leaders must step up and lead by example by first speaking up and then creating an action plan to combat hate and antisemitism.Lawrence D. PlattLos AngelesThe writer is a member of the board of trustees of Touro University.To the Editor:If college students directed this sort of hate speech against Black or Asian or L.G.B.T.Q. people, they would most likely be expelled or at least suspended. The fact that they aren’t speaks to the moral cowardice of university administrators.Joshua RosenbaumBrooklynIf Joe Manchin Runs for President …“I have made one of the toughest decisions of my life,” Mr. Manchin said.Haiyun Jiang for The New York TimesTo the Editor:Re “In Blow to Senate Democrats, Manchin Will Not Run Again” (front page, Nov. 10):The concern spreading among “alarmed” Democrats that the prospective third-party presidential campaign of Senator Joe Manchin would draw more votes away from President Biden may be misplaced.Although he is a Democrat and caucuses and usually votes with the Democrats, many of Mr. Manchin’s positions are inconsistent with those in the base of the party, and he is not particularly liked by other segments of the party or left-leaning independents either.If he runs, rather than siphoning votes from the Biden-Harris ticket, he might draw as many, or more, anti-Democratic independents and disenchanted G.O.P. voters. That is especially the case if the Republican Party’s candidate is former President Donald Trump, as seems increasingly likely, and Mr. Manchin’s fusion running mate is a respectable Republican like Liz Cheney or even Nikki Haley.So, Democrats should take a page from the quarterback Aaron Rodgers, who, when a mainstay of the Green Bay Packers, periodically soothed uneasy fans with one word: “Relax.”Marshall H. TanickMinneapolisJill Stein’s CandidacyJill Stein will be running to the left of President Biden and is joining a group of third-party candidates who are making some Democrats fearful that they could siphon support from his re-election bid.Kim Raff for The New York TimesTo the Editor:Re “Stein Plans to Seek Green Party’s Nomination for President” (news article, Nov. 11):There are two questions that all third-party candidates should ask themselves: First, do they really think they can win the presidency? If they are honest, I think they would respond, “Of course not.”Second question: Do they want Donald Trump to be president? Again, I think the answer for all of them would be, “Of course not.”Which then would reveal that ego is driving them and the desire for a larger, more public forum for their ideas. But the price of that drive could very well be catastrophic damage to our country and our democracy if Mr. Trump wins. And each third-party candidate dangerously increases the chances that could happen.Sally JorgensenSanta Cruz, Calif.Private Art CollectionsTo the Editor:Re “Will the Art World Need to Slash Its Prices?” (Arts, Nov. 4):It is auction season and masterpieces by Picasso, Monet and others will be sold, often by the descendants of dead billionaires to living billionaires for their very private collections.True lovers of art would donate these gems to museums, so the public can see them. Just another example of the greed of the wealthiest 1 percent, completely unconcerned about the rest of us.Jim DouglasOcean Grove, N.J. More

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      A Gaza Father’s Worries About His Children

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      More from our inbox:A Temporary House Speaker?Republicans, Stand Up for UkraineWork Permits for ImmigrantsIs A.I. Art … Art?An injured woman and her child after an Israeli bombing near their house in the Gaza Strip.Samar Abu Elouf for The New York TimesTo the Editor:Re “What More Must the Children of Gaza Suffer?,” by Fadi Abu Shammalah (Opinion guest essay, Oct. 13):My heart goes out, and I cry over the suffering of Palestinian children in Gaza. They have done nothing to deserve war after war after war.However, to ignore Hamas’s responsibility for contributing to that suffering is to miss the whole picture. Hamas rules Gaza, and it has chosen to buy missiles and weapons with funds that were meant to build a better society for Gazan civilians.Last weekend’s attack was designed by Hamas to prompt a heavy response by Israel and stir up the pot, probably to kill a Saudi-Israeli peace deal, even if it meant sacrificing Palestinian civilians in the process. We can lay the blame for the Gazan children who have been killed in recent days at the feet of both the Israel Defense Forces and Hamas.Aaron SteinbergWhite Plains, N.Y.To the Editor:Thank you for publishing Opinion guest essays from Rachel Goldberg (“I Hope Someone Somewhere Is Being Kind to My Boy,” nytimes.com, Oct. 12) and Fadi Abu Shammalah. These essays, for the most part, demonstrate the dire disconnect between Israelis and Palestinians for decades.Ms. Goldberg and Mr. Abu Shammalah describe the horrors from their perspectives (terrorists or fighters; most vicious assaults on Jews since the Holocaust or terrifying violence raining down on Gaza).Despair is a shared theme in these articles. There is also a glimmer of hope found in the similar, heartbreaking pleas of loving parents for their children. Is now the time for mothers and fathers around the world to stand together for all children? If not now, when?Daniel J. CallaghanRoanoke, Va.To the Editor:Thank you for publishing Fadi Abu Shammalah’s essay. I’m hoping that hearing from a Palestinian in Gaza at this incredibly terrifying time might help your readers better understand the importance for all of us to call for immediate de-escalation to prevent Israel’s impending invasion.Shame on those who do not do what they can to prevent this assault on humanity. Let’s end this current horror show.Mona SalmaSan FranciscoTo the Editor:Regarding Fadi Abu Shammalah’s essay, “What More Must the Children of Gaza Suffer?”:Maybe Hamas should have considered that question before deciding to attack Israel.Jon DreyerStow, Mass.A Temporary House Speaker?Representative Steve Scalise, Republican of Louisiana, announcing his withdrawal as a candidate for House speaker on Thursday night. He hopes to remain as the party’s No. 2 House leader.Kenny Holston/The New York TimesTo the Editor:Re “Scalise Departs Speaker’s Race as G.O.P. Feuds” (front page, Oct. 13):Given the urgent state of affairs (Israel-Gaza, Ukraine, looming government shutdown), wouldn’t it be a good idea for the Republicans in the House of Representatives to pick a temporary speaker? Someone who doesn’t want the job permanently but would take the role through, say, early January.One would think that having the speaker role be temporary would make it easier to arrive at a compromise.Shaun BreidbartPelham, N.Y.Republicans, Stand Up for Ukraine David Guttenfelder for The New York TimesTo the Editor:Re “G.O.P. Resistance to Aid in Ukraine Expands in House” (front page, Oct. 6):Where do Republicans stand? On the side of autocracy or democracy? Dare I ask? The Ukrainians are on the front lines, fighting and dying to preserve the values of the West. Republicans, stand up and be counted!Norman SasowskyNew Paltz, N.Y.Work Permits for Immigrants Illustration by Rebecca Chew/The New York TimesTo the Editor:In your Oct. 8 editorial, “The Cost of Inaction on Immigration,” you correctly identified one potential benefit from proactive immigration policies. If Congress were not so frozen by the anti-immigration fringe, immigrants could fill the urgent gaps in the American labor market and propel our economy forward.President Biden can and should also expand work permits for long-term undocumented immigrants using an existing administrative process called parole.The organization I lead, the American Business Immigration Coalition, published a letter on behalf of more than 300 business leaders from across the country and a bipartisan group of governors and members of Congress clamoring for this solution.The farmworkers, Dreamers not covered by DACA and undocumented spouses of U.S. citizens who stand to benefit already live and belong in our communities. The advantages for businesses and everyday life in our cities and fields would be enormous, and this should not be held hostage to dysfunction in Congress.Rebecca ShiChicagoIs A.I. Art … Art?A.I. Excels at Making Bad Art. Can an Artist Teach It to Create Something Good?David Salle, one of America’s most thoughtful painters, wants to see if an algorithm can learn to mimic his style — and nourish his own creativity in the process.To the Editor:Re “Turning an Algorithm Into an Art Student” (Arts & Leisure, Oct. 1):A.I. art seems a commercially viable idea, but artistically it falls very far short of reasoned creativity and inspiration. When you remove the 95 percent perspiration from the artistic act, is it art anymore? I don’t think so.David Salle’s original work is inspired. The work produced by his A.I. assistant (no matter how much it is curated by the artist), I am afraid, will never be.I hope he makes money from it, as most artists don’t or can’t make a living with their inspired, personally or collectively produced art. They cannot because the market typically prefers a sanitized, digitized, broadly acceptable, “generically good” art product — something that has been produced and edited to satisfy the largest number of consumers/users/viewers. The market will embrace A.I. inevitably.I fear the day when A.I.-written operas, musicals, concerts and symphonies are performed by A.I. musicians in front of A.I. audiences. With A.I. critics writing A.I. reviews for A.I. readers of A.I. newspapers.Eric AukeeLos AngelesThe writer is an architect. More