EditorialJamira Esquilin in the auditorium of the High School of Fashion Industries in Manhattan on the day of the annual showcase, May 24, 2023. (Gus Aronson/The New York Times)
EditorialJamira Esquilin in the auditorium of the High School of Fashion Industries in Manhattan on the day of the annual showcase, May 24, 2023. (Gus Aronson/The New York Times)
EditorialJamira Esquilin in the auditorium of the High School of Fashion Industries in Manhattan on the day of the annual showcase, May 24, 2023. (Gus Aronson/The New York Times)
EditorialJamira Esquilin in the auditorium of the High School of Fashion Industries in Manhattan on the day of the annual showcase, May 24, 2023. (Gus Aronson/The New York Times)
EditorialJamira Esquilin in the auditorium of the High School of Fashion Industries in Manhattan on the day of the annual showcase, May 24, 2023. (Gus Aronson/The New York Times)
EditorialJamira Esquilin in the auditorium of the High School of Fashion Industries in Manhattan on the day of the annual showcase, May 24, 2023. (Gus Aronson/The New York Times)
EditorialA stack of rubber soles before being used to repair shoes at the Golden Goose flagship store in Milan, on June 8, 2022. (Gus Powell/The New York Times)
EditorialArtist Vadim Zakharov, a member of the radical Moscow Conceptualist art movement in the late 1970s, protests outside Russia’s pavilion during the Venice Biennale, in Italy, on Wednesday, April 20, 2022. (Gus Powell/The New York Times)
EditorialSimone Leigh’s “Sentinel” (2022), a 16-foot-tall bronze, inside the U.S. Pavilion at the 59th International Venice Biennale, April 10, 2022. (Gus Powell/The New York Times)
EditorialSimone Leigh’s “Sentinel” (2022), a 16-foot-tall bronze, inside the U.S. Pavilion at the 59th International Venice Biennale, April 10, 2022. (Gus Powell/The New York Times)
EditorialThe Future of Telehealth, Advertising Week New York 2021, The Innovation Factory Stage presented by Audacy, Hudson Yards, New York, USA - 18 Oct 2021
EditorialA librarian at the Picture Collection at the New York Public Library examines the “Rear Views” file, in New York, July 30, 2021. (Gus Powell/The New York Times)