On Tuesday, March 9, a new art installation quietly appeared along the Park Avenue Mall, just opposite The Armory. The piece, entitled Talisman: A Sacred Grove, is the latest vision of artist Michele Oka Doner, whose nature-inspired work has been celebrated for nearly five decades.
In The Amazing Sex Life of Rabbits, the playwright and director, Michael Shaw Fisher, presents an amusing twist on class warfare.
The Frog & Peach Theatre Company was founded in 1996. Their goal was to present Shakespeare to the public. They edit texts to keep the verse intact and maintain efficiency. The audience is drawn into Shakespeare’s world. Shakespeare’s messages remain clear. Macbeth – What if a madman were king? clearly achieves this goal.
If your social calendar is craving something equal parts elevated, experiential, and actually meaningful, there’s a South Florida event quickly becoming one of the season’s most coveted tickets.
On Saturday, March 7, the lush grounds of Patch of Heaven Sanctuary will transform into an intimate open-air dining room for Farm to Table in the Stable, a high-touch culinary experience that blends luxury dining with real environmental impact.
Where Rustic Meets Refined
Tucked away in Miami’s agricultural Redland district, Patch of Heaven has built a reputation as one of the region’s most transportive hidden gems. For one evening only, guests will dine inside the sanctuary’s horse stable at a dramatic 100-foot communal table, surrounded by lush greenery and the property’s striking Friesian and Gypsy Vanner horses.
The evening unfolds like a curated escape:
- Welcome reception at the Butterfly House
- Guided stroll through the Zen Garden
- Live music under the stars
- A plant-based four-course dinner sourced from Redland farms
The globally inspired menu, with Thai influences and a strong “food as medicine” philosophy, positions this as far more than a standard charity dinner.
Luxury With Real Impact
What makes this experience especially compelling is the mission behind the menu.
Proceeds support Patch of Heaven’s goal to acquire and restore 20 additional acres of tropical forest in Miami-Dade County, where tree canopy coverage remains critically low.
The impact is tangible:
- Each ticket helps plant 10 native trees
- Funds restore one-quarter-acre of habitat
- The nonprofit aims to expand from 20 to 40 acres of protected land
Your night out directly contributes to growing South Florida’s urban forest, a purpose-driven angle today’s luxury audience increasingly values.
An Exclusive Art Moment
This year’s dinner also includes a cultural preview. Guests will get a first look at a $500,000 outdoor installation by Danish artist Jeppe Hein, newly donated to the sanctuary and set within the historic Castellow Hammock forest.
It is the kind of art-meets-nature moment typically reserved for private collections, and another reason tickets are expected to move quickly.
Why It Belongs on Your Calendar
In a crowded South Florida event scene, Farm to Table in the Stable stands out for pairing a destination-worthy setting with a chef-driven menu and measurable results. With its intimate seating, strong visual appeal, and purpose-forward mission, it works equally well for date night, a girls’ evening out, or an elevated group experience.
Event Details
What: Farm to Table in the Stable (VIP Fundraising Dinner)
Where: Patch of Heaven Sanctuary, 21900 SW 157th Ave, Miami
When: Saturday, March 7, 5:00 to 8:30 p.m.
Style note: Outdoor terrain. Skip the stilettos.
As part of the 2026 Dance Reflections by Van Cleef & Arpels Festival in New York, we had the opportunity to step inside Lucinda Childs’ repertory. On February 26 and 27, at the New York Center for Creativity & Dance, a professional workshop dedicated to Radial Courses offered a rare chance to embody the technical rigor of Childs’ minimalist language. Led by Kyle Gerry, currently dancing with the Lucinda Childs Dance Company, the three-hour session revealed that what appears spare from the audience demands extraordinary mental and physical calibration from within.
On Thursday night, The Plaza Hotel’s Grand Ballroom bloomed into a vertical city of orchids as the New York Botanical Garden hosted its 2026 Orchid Dinner in celebration of The Orchid Show: Mr. Flower Fantastic’s Concrete Jungle. Under the Plaza’s crystal chandeliers and iconic gilded ceilings, the room filled with a cross-section of New York: Martha Stewart in composed elegance, Alex Newell radiant and commanding, Plant Kween in full botanical glamour, alongside design leaders, philanthropists, collectors, and downtown creatives.
On Saturday night, February 21, the Perelman Performing Arts Center filled steadily. Reflections: A Triptych by Benjamin Millepied, presented by L.A. Dance Project and co-presented with Dance Reflections by Van Cleef & Arpels, arrived in New York as a culmination of the first time the three works were shown together in their entirety. Commissioned by Van Cleef & Arpels across more than a decade, the triptych Reflections (2013), Hearts & Arrows (2014), and On the Other Side (2016) traces a long arc of Millepied’s choreographic language. Seen consecutively, the evening felt like a study in presence: how bodies negotiate time, how dancers remain porous to one another, and how sequencing becomes structure.
The first piece, Reflections, unfolded against Barbara Kruger’s bold visual design of a stark red and white typographic field that pressed language into the background as both assertion and interruption. Set to David Lang’s score, the choreography oscillated between sensual suspension and sharp-edged fragmentation, where movements began in isolation and then dissolved into fleeting proximity. Timing was precise and almost lyrical. The dancers’ responsiveness to one another felt immediate and effortless, embodying themes of presence and absence. Millepied’s ballet allowed the sequencing to breathe while one dancer initiates a phrase, another absorbs and answers it. The score functions not merely as accompaniment but as atmosphere and a frame within which the dancers improvise micro-adjustments, calibrating weight, and gaze to help the audience visualize the tension between desire and memory.
In Hearts & Arrows, set to the crystalline rhythms of Philip Glass, the pace sharpened. Glass’s music carries a layered insistence, with repetition that accumulates. Dancers entered and exited like shifting facets of a gemstone, while Liam Gillick’s sculptural lighting design became an active partner, carving the stage into zones of tension and release. A cluster of dancers spun through a sequence of lifts and turns that suddenly narrowed into an intimate pas de deux. Here, the sequencing felt architectural, as lines formed, dissolved, and reassembled, and the dancers’ timing created visual counterpoint with one body accelerating while another held suspension, one phrase extending while another contracted. The score, as with much of Glass’s work, invites endurance, as relationships formed and fractured in quick succession.
But it was the final work, On the Other Side, that landed most deeply. Set again to Philip Glass, this time to selections from his Piano Études, the piece shifted from crystalline abstraction into something more human, more porous. Dancers arranged themselves in still or near-still compositions that lingered just long enough to register emotionally before dissolving into motion. These held images, like tableaus of bodies angled toward one another, and weight shared through a shoulder or hip, felt almost painterly moving through skin rather than sound. In this final work, it felt like witnessing a single organism expanding and contracting across space. The curtain call was met with sustained applause. The stage, washed in saturated color, framed the dancers hand-in-hand.
After the performance, Millepied gave a speech during the cocktail party. He spoke first of gratitude for the partnership with PAC NYC and Dance Reflections by Van Cleef & Arpels, whose continued commissioning and support have allowed these works to travel and evolve. He acknowledged the dancers, describing their dedication as essential in a cultural moment where funding for the arts has grown increasingly precarious. “Money for culture,” he noted, “is clearly more difficult everywhere.” Yet the full theater in New York stood as counterpoint, proof that audiences remain hungry for live performance.
Dance, he suggested, is often considered the least popular of the performing arts. It lacks the narrative clarity of theater or the mass familiarity of music. And yet, in cities like Paris and New York, theaters continue to fill. That persistence, he implied, is not accidental. It is evidence of belief.
The 18th Annual Harlem Fine Arts Show transformed The Glasshouse into a convening space centered on innovation, ownership, and cultural authorship.
Fashion is all about self-expression, allowing a person to show how they feel and their story through various textures, patterns, and fabrics. That’s where talented people like J Bolin thrive, and he has built an exceptional career doing just that.
Each January, The Winter Show returns to the Park Avenue Armory with a familiar mix of museum-quality antiques, fine art, and design. Long known for its scholarly rigor, the fair has typically rewarded historical fluency. This year from January 23rd to February 1st, the experience feels slightly recalibrated. Alongside connoisseurship, there is a greater emphasis on atmosphere, narrative, and how visitors move through the space. Two presentations in particular help define that: a design-led collectors lounge by frenchCALIFORNIA and a literary showcase by Peter Harrington Rare Books that treats books as both cultural artifacts and sculptural objects.
This year, frenchCALIFORNIA has designed the VIP Collectors Lounge, titled The Modern Salon. Rather than functioning as a branded pause point, the lounge reads as a fully realized interior. Furniture, lighting, sound, and spatial rhythm are treated as equal elements, creating an environment that feels composed rather than decorative. The installation brings together contemporary Italian design through Dexelance, featuring works by Meridiani, Saba, Turri, and Davide Groppi, unified by an emphasis on proportion, material quality, and human scale.
The lounge responds directly to the architecture of the Armory’s Veterans Room, originally realized under the artistic direction of Louis C. Tiffany. Instead of competing with the room’s historic presence, frenchCALIFORNIA works in dialogue with it. Modern silhouettes and restrained palettes sit comfortably against the building’s ornate bones, creating a quiet tension between past and present. Seating arrangements are intentionally relaxed, encouraging conversation without formality and reinforcing the salon’s role as a place for exchange rather than display.
Sound also plays a central role in shaping the environment. An immersive audio program by Bang & Olufsen is integrated throughout the space, with speakers treated as sculptural components rather than visible technology. Audio functions as a material in its own right, influencing the pace and mood of the room. The effect is subtle but deliberate. The lounge feels lived in rather than staged, offering collectors and guests a moment of pause that remains fully in conversation with the fair.
If frenchCALIFORNIA’s presentation centers on how design is experienced in real time, Peter Harrington Rare Books offers a counterpoint grounded in history, craftsmanship, and intellectual legacy. One of the world’s leading antiquarian book dealers, Peter Harrington arrives at The Winter Show with a tightly curated selection that favors depth over volume. The display encourages lingering, inviting viewers to consider books as objects shaped by labor, time, and cultural context.
Among the most significant highlights is The Science of Climate Change, a landmark collection assembled over more than a decade by collector David L. Wenner. Tracing the evolution of climate science from the fifteenth century to the present, the collection includes incunabula, handwritten observational data, and foundational research papers where ideas such as the greenhouse effect first appeared in print. Presented together, the works form a restrained but powerful narrative about how scientific knowledge accumulates over centuries and how long it can take for evidence to enter public consciousness.
Another focal point is a unique illuminated manuscript of Dante Gabriel Rossetti’s The Blessed Damozel, produced between 1910 and 1929. Illuminated by Alberto Sangorski and bound by Rivière & Son, the manuscript represents a high point of Arts and Crafts bookmaking. A full-page miniature inspired by Rossetti’s painting anchors the volume, while a certification leaf confirms the work “will not be duplicated.” The manuscript is presented less as a literary document and more as a singular artwork, blurring the boundary between book and fine art.
The booth also offers moments of levity. An archive of letters from P. G. Wodehouse to his American editor reveals the author’s humor and vulnerability late in life, touching on everything from royalties to adaptations and aging. Nearby, a complete set of first editions of The Chronicles of Narnia, bound in custom morocco with designs reflecting each volume’s themes, reframes a familiar series as a cohesive sculptural library.
Together, these two presentations point to what feels newly resonant about The Winter Show this year. The fair continues to reward expertise and close study, but it also opens itself to a wider range of entry points. Design-minded visitors are drawn to the lounge’s sensory intelligence and spatial restraint. Literary collectors and history enthusiasts can engage deeply with manuscripts and archives that connect past debates to present concerns. Even casual attendees encounter moments that invite curiosity rather than intimidation.
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