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      Fedora Returns to the West Village for an Encore. Again.

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      After closing in 2020 following a revival by Gabriel Stulman, it’s now backed by the partners of St. Jardim.OpeningFedoraThe Village, West and Greenwich, are neighborhoods that hang onto historic restaurants. They may close, but then someone rides to the rescue. Dante, Waverly Inn, Minetta Tavern, Figaro and, with an encore, Fedora. Gabriel Stulman revived it for 10 years, until 2020. Now the partners from St. Jardim nearby, Andrew Dete and Christa Alexander, with Basile Al Mileik, St. Jardim’s wine director, have stepped in. They’ve refreshed the cozy interior, and are reopening it with a European-inspired menu by Monty Forrest from Le Rock, who’s offering asparagus tempura, pierogi with alliums and peas, tilefish in bourride, and black bass Provençal. The wine list leans French. The original sign still tips its hat to Fedora Dorato, the owner from 1952 until 2010.239 West Fourth Street (West 10th Street), 917-740-5273, fedoranewyork.com. DubuHausSharing the sprawl of 28,000 square feet with Howoo, a Korean barbecue spot, and soon to be joined by Musaek, all by Urimat Hospitality Group, DubuHaus specializes in tofu (dubu in Korean). It’s turned into soft tofu stews, dumplings, bibimbap and braised dishes, some forcefully spiced, though tofu doesn’t figure in every preparation. The setting is minimalist, designed to replicate a hanok, the traditional Korean home. (Opens Thursday)6 East 32nd Street, 917-509-5967, dubuhaus.com. Maison PasserelleHeather Willensky for Printemps New YorkLeafy, as in flooring, upholstery and other decorative elements, describes the new Printemps New York store and its dining options, most of which opened a couple of weeks ago. Now the pièce de résistance, the fine-dining component, is ready. Like the others, it’s the work of Gregory Gourdet, the store’s culinary director, who is including flavors from former French colonies in West and North Africa, the Caribbean and Asia for his menu. Salt cod fritters, grilled white asparagus with Creole cream, roast chicken with Moroccan condiments and, for dessert, coconut chiboust with makrut lime cover the territory, all rendered with French techniques. Even the inevitable New York strip speaks Creole with a Haitian coffee rub. (Thursday)Printemps New York, One Wall Street (Broadway at Exchange Place), 212-217-2291, maisonpasserellenyc.com. Banh Anh EmBanh Vietnamese Shop House on the Upper West Side, with seats still a challenge to score after five years, now has a downtown sibling (anh em means brotherhood or sisterhood). What distinguishes John Nguyen and the chef Nhu Ton’s latest effort is that the bread for the banh mi, a Vietnamese take on a French baguette, is baked in-house. The noodles for pho are also homemade. The space is larger.99 Third Avenue (13th Street), banhanhem.com. Little FinoTaking their cue from Italy, breakfast items like cornetti and a spinach frittata, followed by all-day snacks, small bites and sandwiches like a roasted artichoke, polenta tots, prosciutto and a chicken muffuletta, are served at this cafe and bar. It’s headed by Anthony Ricco, a chef in Andrew Carmellini’s NoHo Hospitality Group, and has been added to the ground floor of the William Vale in Brooklyn.The William Vale hotel, 111 North 12th Street (Wythe Avenue), Williamsburg, Brooklyn, 718-581-5900, littlefinonyc.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? Log in.Want all of The Times? Subscribe. More

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      Brad Holland, Subversive Artist Who Reinvented American Illustration, Dies at 81

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      Brad Holland, an idiosyncratic artist who upended American illustration in the 1970s with his startling imagery for Playboy magazine and The New York Times’s opinion page, spawning a generation of imitators, died on March 27 in Manhattan. He was 81.His brother, Thomas Holland, said he died in a hospital from complications of heart surgery.Mr. Holland was in his late 20s and contributing to Playboy and a few of New York City’s underground papers, including The New York Review of Sex and Politics and The East Village Other, when he was invited to be part of an experiment at The New York Times.In 1970, the paper had introduced what it called an Op-Ed page — the name referred to its placement opposite the editorial page — as a forum for essays and ideas. The art director of this new page, Jean-Claude Suares, was another veteran of the underground presses; while working at The Times, he was also designing Screw magazine.For The Times, Mr. Suares wanted to commission standout art to accompany the writing, but he didn’t want to illustrate the themes of the articles literally. He was an admirer of Mr. Holland’s work and recruited him, along with other notable insurgents, including Ralph Steadman, the British caricaturist who had been illustrating Hunter Thompson’s gonzo adventures, and a coterie of European political cartoonists.One of three illustrations for a 1968 essay by P.G. Wodehouse, “The Lost Art of Domestic Service,” that were Mr. Holland’s first assignment for Playboy magazine. He would work for the magazine for a quarter-century.Brad Holland/Artists Rights Society (ARS), New YorkMr. Holland had already attracted attention with the gorgeous rococo images he made to illustrate Playboy’s “Ribald Classics,” a series that reprinted erotic stories by the likes of Ovid, Jonathan Swift and Mark Twain. His work could be surreal, grotesque and beautiful, and it was often inscrutable. It recalled the satirical engravings of the 19th-century caricaturist Thomas Nast and the more terrifying paintings of Francisco Goya.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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      Charter Company in Fatal Helicopter Crash Had Prior Mechanical Failures

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      The firm that operated the helicopter that crashed in the Hudson River on Thursday, killing all six people aboard, has a long history of flying excursions around New York City, some of which have encountered safety problems.In 2013, one of the helicopters operated by the company, New York Helicopter Charter, was carrying a family of four on a sightseeing tour when it suddenly lost power. It was forced to make an emergency landing in the Hudson River near the Upper West Side of Manhattan.About two years later, another of its helicopters crashed while hovering 20 feet off the ground after taking off in northern New Jersey.In that episode, the pilot reported that the helicopter had started to spin out of control before he put it down for a “hard landing.” An investigation found that the aircraft had previously been involved in a hard landing in Chile in 2010 and that a drive shaft that was “unairworthy” was installed on the aircraft, according to a report by the National Transportation Safety Board.The investigation found that the faulty drive shaft had been painted by a previous owner, making it impossible to tell whether it had been part of the helicopter during the earlier hard landing.The investigators found that the probable cause of the crash was “deliberate concealment and reuse” of the faulty component “by unknown personnel.”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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      Congestion Pricing Will Live On for Several Months After Court Agreement

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      State and federal officials agreed to a timeline in their court dispute over the tolling program that is likely to leave it in place until the fall. Other threats to the program still loom.The federal government and New York transit officials have agreed to allow congestion pricing, the tolling program opposed by President Trump, to continue until at least midsummer, and most likely into the fall, according to a new court filing.But it remains unclear whether the federal Department of Transportation, which has raised the specter of defunding mass transit projects in the state, could exert pressure outside the court system to try to force the program to end sooner. Sean Duffy, the secretary of transportation, has said he wants the toll to end by April 20.The Metropolitan Transportation Authority, which operates the program, declined to comment on the letter that detailed the agreement. The document was filed on Friday in federal court in Manhattan as part of a lawsuit by the M.T.A. against the Department of Transportation over the government’s efforts to kill the toll. The letter said that the authority and federal officials would abide by a timeline that would not resolve the dispute until at least late July. It also noted that the federal government does not currently plan to seek an injunction, which could have potentially halted the program in the meantime.The Department of Transportation did not immediately respond to a request for comment.The agreement signals another temporary reprieve for the M.T.A. and Gov. Kathy Hochul, who has vowed to keep the tolling cameras on. Congestion pricing, which charges most drivers $9 to enter Manhattan below 60th Street during peak traffic times, began in January, with the goals of reducing traffic and raising $15 billion for critical mass-transit upgrades in the region.Sam Spokony, a spokesman for the governor, declined to comment on the court document, but reiterated Ms. Hochul’s support for the program. “Since congestion pricing took effect three months ago, traffic is down and business is up — and that’s the kind of progress we’re going to keep delivering for New Yorkers,” he said.For months, President Trump has promised to kill congestion pricing, claiming, without offering evidence, that the toll is harmful to the city’s economy.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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      A Columbia Campus Occupation Could Have Ended Without Police, Report Says

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      A university senate review concludes that some demonstrators who occupied Hamilton Hall were willing to leave voluntarily.Columbia University’s move to use police force to clear demonstrators from a campus building last spring could potentially have been avoided, as some students were urgently asking if they could leave voluntarily, according to a report released Tuesday by the university’s senate.The students, who early that morning had broken into Hamilton Hall and barricaded the doors, told faculty intermediaries that they had enlisted the help of a Harlem pastor to help them depart safely. But university administrators, saying time had run out, allowed hundreds of police officers to come onto the campus to remove protesters from the building.The new details of the final hours of the occupation of Hamilton Hall on April 30 were among the key revelations of the 335-page report, which was written by a group within the senate, a Columbia policymaking body that includes faculty members, students and administrators, with faculty in the majority. The senate is independent from the administration and has been critical of its protest response.Called the “The Sundial Report,” it provides a play-by-play chronology of the events surrounding the protests on campus related to the war in Gaza beginning in October 2023.The demonstrations and Columbia’s response put the school at the center of a national debate over how to protect students from harassment by demonstrators while also protecting the free speech and rights of protesters.The events of last spring resulted in significant disruption on the university’s Morningside Heights campus, and some critics of Columbia’s response said administrators waited too long to take action. The unrest culminated on April 30, when a smaller group of protesters — including some who were unaffiliated with Columbia — broke off from a tent encampment and took over Hamilton Hall.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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      Working Families Party Endorses 4 Candidates in Strategy to Beat Cuomo

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      The progressive group backed Brad Lander, Zohran Mamdani, Adrienne Adams and Zellnor Myrie for mayor as part of a broader effort to defeat the former governor, who is leading in the polls.As New York City voters tilt slightly toward the center, the left-leaning Working Families Party hopes that a slate of four mayoral candidates will be better than the one moderate rival currently leading the polls, former Gov. Andrew M. Cuomo.The party on Saturday voted to endorse a slate of four candidates for mayor: Zohran Mamdani, an assemblyman from Queens; Brad Lander, the city comptroller; Adrienne Adams, the speaker of the City Council; and Zellnor Myrie, a state senator from Brooklyn.Ana María Archila and Jasmine Gripper, co-directors of the New York Working Families Party, said in a statement that the city deserved a mayor who could “leave behind the scandal and corruption of the past and lead with integrity.”The four candidates “each have a record of fighting for working families, a vision to make New York City safe and affordable for all and the courage to stand up to Trump,” they added.The slate is the first of a two-part endorsement process that the party has embraced for the June 24 primary. In May, the group plans to throw its support behind a single candidate that its leaders believe is best positioned to defeat Mr. Cuomo.In the 2021 Democratic mayoral primary, the three candidates backed by the Working Families Party failed to make the final round under the city’s new ranked-choice voting system. This year, the group has adjusted its endorsement process in an effort to better leverage its influence.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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      Pension Funds Push Forward on Climate Goals Despite Backlash

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      At a time of resistance to environmental, social and governance goals, pension funds have become a bulwark against efforts to sideline climate risks.In the past few months, some of the largest banks and asset managers in the United States have quit net zero networks, the climate groups that encourage their members to set ambitious carbon reduction targets and collaborate internationally on sustainability efforts.But the week after Donald J. Trump won re-election in November, NYCERS, a pension fund for New York City employees, went in the opposite direction. It joined a United Nations-affiliated climate action group for long-term investors, the Net Zero Asset Owner Alliance.The timing wasn’t intentional, said Brad Lander, the comptroller who oversees the city’s finances, including the pension fund, and is now running for mayor. But, he added, “we were pleased that the timing sent an important signal.”“It is far more important than it was for pension funds and other big asset owners to take collective action at this moment,” Mr. Lander said.At a time of growing backlash to environmental, social and governance goals and investment strategies, pension funds, particularly in blue states and Europe, have emerged as a bulwark against efforts to sideline climate-related risks.The funds, which sit at the top of the investment chain, have stepped up engagement with asset managers and companies on climate goals and have kept public commitments to use their fiscal might to reduce carbon emissions. In some cases, that has meant shifting to European asset managers, which have not backed off on climate commitments as much as their American counterparts have.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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      Jazzed About Abstraction: Jack Whitten’s Show Is a Peak MoMA Moment

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      “I’m a product of American Apartheid,” the artist Jack Whitten wrote, a blunt fact that led him to project, in his art, a very different reality, one of “infinite diversity in infinite combinations.” It was a vision that propelled and buoyed him through a nearly six-decade career. “This is why I get up in the morning,” he wrote, “and go to work!”And how very lucky we are, at a moment when references to diversity and difference are being scrubbed from accounts of our national history, to have a refreshing tidal wave of a Whitten career retrospective sweeping and scintillating through the special exhibition galleries on the Museum of Modern Art’s sixth floor.Titled “Jack Whitten: The Messenger,” the show encompasses some 180 paintings, sculptures and works on paper, from a 1963 art-school collage to a final painting from just before he died in 2018. Over that span Whitten called every studio he worked in a “laboratory,” and every piece of art he made an “experiment.” And, indeed, much of what’s in the show challenges ready definition.Whitten at his studio in 1974 with a large rake-like tool that he had made to apply a wide layer of paint to a horizontal canvas.Paul Viani, via The Museum of Modern Art, New YorkSuch is the case with a piece called “The Messenger (for Art Blakey)” installed just outside the first gallery. From a distance it could be a photograph of a star-drenched night sky, or of clouds of foam on a dark sea. Or it could a painting with white paint glopped and dripped, Abstract Expressionist-style, on a black ground. Get close and you find that, in fact, it’s a large rough-textured mosaic pieced together from thousands of pixel-like cubes of dried paint.You consult the title for meaning: Art Blakey, Black drummer extraordinaire, leader in the 1950s of the hardbop group called the Jazz Messengers. Suddenly the glops and drips look sonic, like musical bursts and pings.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