New York Today: The Rundown on our State IDs

Adriana Balsamo and Alexandra S. Levine for The New York Times:

The Museum of Broken Windows opens in Manhattan this weekend.

The pop-up site, created by the New York Civil Liberties Union, uses art as commentary on “broken windows” policing, a strategy meant to bring safety and stability to crime-plagued cities and violent neighborhoods by cracking down on low-level offenses, but one that is criticized for the racial disparities in arrests.

The museum features work by artists from New York and across the country, many of whom have been incarcerated or directly affected by broken windows policing.

During the museum’s weeklong run, it is hosting events with policy experts, local activists and families of victims of police brutality.

Under the Radar, but Cranked to 11

Matthew Schneier for The New York Times:

It was dark and loud on Monday night in Ideal Glass, a performance space on East Second Street, the site of the first solo presentation by a little-known, prodigiously talented men’s wear designer named Kozaburo Akasaka.

Nine p.m., the last show slot of the day, is not generally a sought-after one during New York Fashion Week, but you got the feeling that Mr. Akasaka would have been just as happy to have gone even later.

“I couldn’t have the vision to do a normal runway show,” he said. He hasn’t, in fact, done any shows or events at all. For this, his debut, he insisted on a psychedelic happening, a crowd milling and a few brave souls lightly moshing, to the throbbing drone of a Chilean psych band called Föllakzoid.

When Words Fail, Some Turn to Gestures

Jason Zinoman for The New York Times:

“Crawl, Fade to White,” Sheila Callaghan’s new drama about the fraying relationship between a mother and daughter, isn’t the kind of dysfunctional family play in which the characters say exactly what they feel. Instead, the college-age April (Jocelyn Kuritsky), who speaks with a stutter, and her mother, Louise (Carla Harting), who works as a “beauty consultant,” communicate, if at all, in grand gestures. “Some things,” April says, “don’t have words.”

Striving for a kind of dreamlike visual style, Paul Willis’s insubstantial production is hard to pin down, with scenes popping up all over the raw, attractively distressed Ideal Glass Gallery in the East Village. This restlessness matches the state of mind of its awkward protagonist…