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Helen Clay Frick, always an art enthusiast, founded the Frick Art Reference Gallery in 1920 as a public reserve and in loving memory of her father, Henry Clay Frick. Originally housed in the basement bowling alley of the Frick Collection, the library moved to its current location in 1935, transformed from its previously residential identity by Russell Pope. To date, the library offers access to comprehensive collections of photographs with complementing texts as well as other resources to better understand Western Art, adhering to the intentions of both Helen and Henry.

The Roosevelt House is primarily an educational institution, housing two of Hunter College's undergraduate programs and hosting a number of book talks, panels, and other public events. But, as the name reveals, it began as a family home. The Roosevelt's moved into this double townhouse in 1908, with matriarch Sara Roosevelt living on one side, and Franklin and Eleanor on the other, along with their five children. On my visit to the Roosevelt House, I participated in a guided tour that illuminated some of its history for me. The building itself, was designed by architect Charles Platt, who also made the plans for the nearby mansion that was home to The China Institute for almost seventy years. This elegant townhouse among the rows of brownstones would set the tone for many of the other structures in the area to be renovated or replaced. Deborah, the tour guide, took us through the many rooms and their pasts. I was surprised to learn that the house was built with two elevators, one on each side, a rare architectural choice for the early twentieth century. The elevators became especially important after 1921, when Franklin Delano Roosevelt fell ill with polio and was confined to a wheelchair. One of the elevators has been retained in its original state, and is shockingly small – the wheelchairs we use today would never fit - but Roosevelt's had a profile similar to that of a dining chair, and so was able to wheel in and out without difficulty. The second elevator has been expanded to allow full accessibility to Hunter College. Upstairs, the library functions as a little museum, containing a selection of books on the Roosevelt's, along with some historic artifacts. The real history though, is in the building itself. "A lot came out of this house, " Deborah explained. President Roosevelt appointed his initial cabinet members in the upstairs library, and among them, the first woman. That same library is where President Roosevelt practiced tirelessly on crutches until he could stand and move sans a wheelchair during political gatherings. A few steps away, the drawing room was the site of Roosevelt's first radio address as president. One floor up is the bedroom where he recovered from polio, and where he often held meetings so that he could continue working minus the discomfort of his leg braces. I found myself lingering close to the walls, hoping they might whisper some of the things they overheard all those years ago. In 1941, Sara Roosevelt died, and the family put the townhouse up for sale. It was a difficult time to sell a house – everybody was at war except the United States, and the whole country knew that conflict was in the immediate future. The Roosevelt's still managed to find a buyer. Eleanor had a strong relationship with Hunter College, and so when they expressed interest, the family lowered the price, making it possible for Hunter to acquire this historic home in 1943. It was dedicated as the Sara Delano Roosevelt Memorial House. Today, the Roosevelt House works to balance its legacy and contemporary function. The house retains all its original crown molding, but the furniture is new, allowing Hunter students and visitors to sit comfortably and not worry about causing damage to antique sofas or rugs. Students at the Roosevelt House study Public Policy and Human Rights, a fitting tribute to the Roosevelt family's influence on this country.

Aaron gallery was founded in 1923 Paris by Jean Aaron. Just after World War II, it was taken over by her son, Didier, and formally renamed Didier Aaron. This 67th Street location was opened in 1977. Dating between the seventeenth and nineteenth centuries, the gallery's art is comprised of paintings, sketches, and a sprinkling of antique furniture. "Just look at it, it is a beautiful space, " explained Alan Salz, director and head of paintings and drawings, and an art history admirer. He was referring to the space and the natural light that the windows allow. Alan was pleased to share with me that he lives only a seven-minute walk from the gallery, enjoying his time in this part of the Upper East Side. "I look for what clients will like, " he told me, "Something high-quality, with an interesting provenance. "

Established in 1975, Kapoor Galleries is one of the few galleries in New York specializing in ancient Indian and Himalayan art, dating mostly between the fifteenth and sixteenth centuries. Walking inside, I was greeted by Sanjay, the fourth generation to join this family business that found its roots dealing in India. He showed me the oldest piece in the gallery, a Greek-influenced, second or third century stone sculpture from Ghandara (modern-day Afghanistan and Pakistan). His favorite sculpture was gilded, bronze-based, and devoted to the Vajradhara Buddha.

Helen Clay Frick, always an art enthusiast, founded the Frick Art Reference Gallery in 1920 as a public reserve and in loving memory of her father, Henry Clay Frick. Originally housed in the basement bowling alley of the Frick Collection, the library moved to its current location in 1935, transformed from its previously residential identity by Russell Pope. To date, the library offers access to comprehensive collections of photographs with complementing texts as well as other resources to better understand Western Art, adhering to the intentions of both Helen and Henry.

Raised by parents from Sicily and Naples, Nick Mormando grew up in an Italian neighborhood in Brooklyn, exposed to authentic Italian food in a comfortable setting. "We were the house on the block that was always cooking something, " Nick explained. And he still is, having stayed true to his family recipes since opening the neighborhood-centric Polpette 71 restaurant in November of 1994. The front room is set up with white tablecloths, bottles of Pellegrino and photographs of "The Gates" by Christo and Jean-Claude, which decorated Central Park in 2005. On my first visit to Polpette 71, when it was still operating under its original name, Bello Giardino, Nick asked if I would like to sit outside in the garden. I looked up in surprise and eagerly replied, "Yes please. " Truly a hidden gem on West 71st, this quiet respite has become a favorite of mine over the last several years. The red-and-white checkered tablecloths, small bottles of olive oil, and a massive mural by Hans de Castellane - depicting an Italian landscape with ocean views and coastal dwellings - brings a smile to my face every time I stroll in. Overhead, a weaving grape vine, grown out of a tiny root planted years ago from Nick's childhood garden, opens to pockets of natural light. The star of the culinary show has been the "Nicky" meatball. Voted the best in the boroughs by Dish du Jour Magazine in 2009, it has since made guest appearances on television shows, and inspired Nick's latest restaurant, Polpette, on Amsterdam Avenue. Other favorites include the penne alla vodka, the linguini and clams, which Nick fondly remembers his mother serving twice a month as he was growing up, and my personal favorite, the eggplant parmigiana. In addition to the food and décor, the ambiance is set by the strong relationships the restaurant has established. Without a doubt, this is a neighborhood haunt. Special occasions are commonly celebrated, guests are unafraid to dine alone, often engaging in comfortable conversations with the servers, and diners are referenced by names. "We are that kind of place, " Nick smiled, recalling a couple who had met in his restaurant, moved outside of New York, but returned to Polpette 71 for their son's first birthday.

In 1887, Father Matthew A. Taylor founded the Church of the Blessed Sacrament, and in 1919, in an effort to accommodate an impressive following, the Roman Catholic Church was moved to its current residence just in front of the School of the Blessed Sacrament. Designed by architect Gustave E. Steinback, the building draws on Gothic Revival styles. The exterior stone facade stands proudly with arched stone ridges, detailed carvings, and heavy wooden doors, but it is the immaculate rose window that presents the most marvels. On the inside, the window is even more awe-inspiring, glowing in a spectrum of soft hues that fill the space with natural light complemented by more stain glass panels on the sidewalls and a beautifully designed tile floor.

“Restaurants are a funny thing — I think most of us fall in and then some of us never leave, ” said Laura Bird, who spent decades working in and out of her uncle’s Southwestern eatery, Santa Fe, before taking over as the owner. Laura’s uncle, John Bird, initially set out to be a musician. However, “like most creatives in New York, he spent a lot of time working in restaurants in between gigs. ” He was a busboy at the casual Mexican joint, Cantina, on 70th Street for many years. Putting his dreams of stardom aside, John and a crew of coworkers he had befriended at Cantina chose to open a new place mere blocks away that would “elevate Southwestern cuisine. ” John later became the sole proprietor, and under his management, the business was able to straddle the line between attracting hotshot celebrities and serving as a warm, family restaurant. “So many people began bringing their kids to dinner and started a long-lasting tradition of dining at Santa Fe together, ” Laura shared. She fondly recalls her own early visits to her uncle’s restaurant. “It seemed like a game then. I remember the excitement of being allowed to use the soda gun for the first time. ” Little did she know that she would be a fixture at Santa Fe. Similar to her uncle before her, Laura graduated college with a theater major and the knowledge that she would need a side job to pay her rent. She went from working the coat check, to waitressing, to suddenly managing the entire restaurant. Though it may not be for everyone, Laura admitted that she loved the “vampire lifestyle — I could do what I loved during the day and then come here at night to do a different kind of show business. ”The family ties at Santa Fe do not stop at Laura and John. The chef of over a decade, José Gonzalez, appointed his son, Danny, as his second-in-command. Together, they dish up traditional Mexican foods as well as American staples and do their best to abide by John’s cardinal rule: consistency. “It’s easy to make something once, but the real goal is to keep cooking it the same way every time. We try to ensure that when people order a dish, it is the same flavor that they fell in love with when they first tried it a week or even ten years ago. ” Just as notable are Santa Fe’s margaritas, which have “a reputation of their own as our shining superstar. ”As for John, after devoting decades of his life to Santa Fe, he “took a bow from his restaurant journey” during the COVID-19 pandemic and entrusted Laura and her husband, Alex Fresqued, to keep running the show. In a heartwarming twist of fate, Santa Fe’s landlord turned out to be equally as fond of this neighborhood gem as its patrons, and he came on as a partner to help keep it alive.

Originally designed by architect Stephen D. Hatch for a Methodist church in 1880, this building was taken over by the Grace Evangelical Lutheran Church ten years later. In 1939, the German-founded congregation merged with that of St. Paul's Evangelical Lutheran to become Grace & St. Paul's Church. Today the church retains its beautiful brownstone facade, a mixture of Gothic and Victorian expression.