In the middle decades of the 20th century, trained eyes were alert to something called the Liebes Look. Colorful, textured and shot through with shimmering, synthetic fibers like Lurex, the woven textiles of Dorothy Liebes were a signature feature of some of the most glamorous postwar interiors in America: Doris Duke’s Shangri La, the Delegates Dining Room at the United Nations, the cabin of the American Airlines flagship 747, the set of the 1949 Barbara Stanwyck film noir “Eastside, Westside” and the inside of the 1957 Chrysler Plymouth Fury, to name just a few. At the @cooperhewitt, Smithsonian Design Museum, a new exhibition called “A Dark, a Light, a Bright: The Designs of Dorothy Liebes,” celebrates her work and role as a tastemaker. Celebrity weaver may seem like the fulfillment of an impossible Instagram dream but, in her lifetime, Liebes was exactly that. Read more about the show at the link in our bio. Written by Sarah Archer (@sarcherize). Photo: Courtesy of Dorothy Liebes Papers, Archives of American Art, Smithsonian Institution. #TList

This spring, the chef @mollylevine began serving seasonal cuisine from a refurbished 1971 Airstream trailer parked on a former dairy farm in the Hudson Valley. Levine, who previously worked at the Berkeley, Calif., restaurant Chez Panisse, founded @westerlycanteen, with her partner, Alex Kaindl, a farmer who tends half an acre in Sharon, Conn. Nearly all of their ingredients are sourced from farms nearby and, starting this month, Kaindl’s crops will also be incorporated. Developing the weekly menu is a puzzle that requires maximizing limited space and resources. “We slice up the spring onions that go into the dish, and the tops are made into the broth,” Levine said. “We’re using every piece of the onion.” The founders hope to engage the surrounding community while also drawing diners from afar. They’ve partnered with @tenmiledistillery, which offers cocktails made with local ingredients to go alongside Westerly’s menu. “We really want people to sit here and stay a while,” Levine said. Read more about the upstate dining destination at the link in our bio. Written by Wei Tchou. Photos courtesy of Westerly Canteen.

Luca Pronzato (@papillespronzi), the founder of the culinary studio @we.are.ona, has never done the same thing twice. For the past four years, his company has been converting unconventional spaces around the world — the 31st floor of a New York City office building, a tennis court in Milan, the onetime atelier of a 19th-century French photographer — into temporary restaurants. Some operate for just a night, others for up to six months. Pronzato approaches each one as an elaborate, site-specific production, relying on an international crew of chefs, artisans, designers and florists to bring his vision to life. Despite the nomadic, ever-changing nature of his business, Pronzato decided last year that We Are Ona needed a permanent home base in his native city, Paris. After securing a former taxidermist’s workshop in the 10th Arrondissement, he embarked on a gut renovation to transform the space into a professional kitchen, an archive of past projects, a communal office for We Are Ona’s team of 15 full-time employees and — most important — an atmospheric venue for hosting clients and friends. On a crisp evening this spring, Pronzato hosted a dinner for 16 friends and collaborators to debut the new space. The evening’s guest chefs, Sayaka Sawaguchi (@sawagucchi) and Gil Nogueira (@gillys_nogueira), brought crates of fresh scallops, produce from their garden and cartoonishly large loaves of sourdough bread. Louis-Géraud Castor, the floral artist behind the Parisian studio @castorfleuriste, set vases of Italian poppies on the table, organizing them in a gradient from red to pale yellow. At the link in our bio, Pronzato shares his tips for hosting a communal meal to remember. Written by Julia Sherman (@saladforpresident). Photo by @mariehennechart.

Over seven years after his release from Angola State Prison in Louisiana, where he was wrongfully imprisoned for 41½ years, Gary Tyler will celebrate his first solo exhibition of quilts on July 8 at the @librarystreetcollective in Detroit, the same city where Rosa Parks and Tyler’s mother campaigned for his freedom in 1976. Tyler’s practice began after he started volunteering at Angola’s hospice program. In addition to gifting quilts to the families of late patients, volunteers would sell them at the prison’s rodeo for funding. When the group needed extra hands for an upcoming show, they recruited Tyler. “Doing my work made me realize that I have something to offer, that my greatest asset is myself,” Tyler says of revisiting quilting after his release. “I’m exhibiting to people what I’ve been through and who I am today.” The show’s title, “We Are the Willing,” is the motto of Angola’s drama club, which Tyler served as president of for 28 years. The 11 quilts on display feature symbols that relate to how Tyler sees his own evolution, like the butterfly, and self-portraits sourced from photos that were taken of him while he was incarcerated. “It’s an opportunity for Gary to reproduce an image of himself at a particular moment in time, allowing him to develop agency over his story by reclaiming this mediated imagery,” the exhibition’s curator, @msallisonglenn, says. Read more of this week’s #TList recommendations at the link in our bio. Written by @abigail_glasgow. Pictured here: Gary Tyler preparing for his exhibition. Photo courtesy of the artist and Library Street Collective / Dorian Hill. “Defiant, 1976” (2023). Photo courtesy of the artist and Library Street Collective / Tim Johnson. “Matriarch” (2023). Photo courtesy of the artist and Library Street Collective / Tim Johnson.

The fashion designer @ullajohnson, known for her botanical prints and artisanal fabrics, is teaming up with the Italian lifestyle brand Cabana (@cabanamagazine) for her home décor debut. The capsule collection, launching July 12, includes an array of pieces that fans of her clothes might find familiar: the kaleidoscopic Hibiscus pattern that was on a dress in her pre-fall 2023 ready-to-wear collection now adorns poufs and hand-dyed napkins, while her plates are decorated with a bird print similar to those on the fabrics she uses every season. Read more about Johnson’s first foray into interiors at the link in our bio. Written by Angela Koh (@ang.koh). Photos courtesy of Ulla Johnson.

Growing up in Los Angeles as the fair-skinned daughter of a Black father and a white mother, Christina Quarles (@cequarles) can recall the first time her sense of identity was challenged: “In elementary school, there was this book of famous Black people throughout history and my nana was in there,” she said. (Her paternal grandmother, Norma Quarles, was one of the first Black TV journalists.) “I would show the other kids that was my grandmother in the book but get told, ‘No, you’re not Black.’ It was this disconnect between how I was raised with my own personal sense of my biography, and then to be met with such resistance when I would express that to people.” This sense of fragmentation animates her paintings, which can make an encounter with them a disorienting, albeit seductive experience. On her canvases, polymorphous, shape-shifting figures collide and intertwine; heads multiply; limbs get entangled with each other. Quarles’s paintings explode the very idea of figurative painting into something more abstract, exploring how race, gender and sexuality intersect and what it means to live within a body. Quarles has had a whirlwind couple of years: She had her largest solo institutional show at the Museum of Contemporary Art Chicago in 2021, she debuted at the Venice Biennale in April last year and the following month a 2019 painting by her sold for a record $4.5 million at Sotheby’s. After a show at Hamburger Bahnhof in Berlin earlier this year, Quarles debuted a new body of work titled “Come In From an Endless Place” at @hauserwirthmenorca in June. From a storefront in L.A. that she’s turned into a temporary studio space, Quarles answered our #TArtistsQuestionnaire. Read the interview, by @kin_woo, at the link in our bio. Photo by Nolwen Cifuentes (@nolwencif).

José Polo and Toño Pérez (@atriotono), the owners of the three-Michelin-star restaurant Atrio in Cáceres, Spain, have opened an art-filled hotel — their second in Cáceres — within a 13th-century palace. The 11 rooms of Casa Palacio Paredes-Saavedra are outfitted with hand-carved marble bathtubs and luxurious extras ranging from fireplaces and grand pianos to private terraces. In the common spaces, the vaulted ceilings, Renaissance archways and Mudéjar mullioned windows serve as a backdrop for Polo and Pérez’s art collection, which includes 80 lithographs from Francisco Goya’s “Los Caprichos” series. Guests can head next door to Restaurante Torre de Sande, also owned by the couple, for casual regional fare. They also plan to open a music school on nearby Plaza Santa María with free classes for children. “We want Cáceres to be a Florence, a Rome, where everyone can have access to all the beauty and art,” says Polo. Read the full story, written by Siobhan Reid (@siobhanmreid), at the link in our bio. Photo courtesy of Joaquín Cortés. #TList

The New York artist Zoe Leonard (@zoe_leonard_studio) devoted much of her artwork to the H.I.V./AIDS crisis, often lamenting the government’s seeming indifference to it. In the lead-up to the 1992 presidential election, after her friend, the poet Eileen Myles, announced a write-in campaign against the incumbent George H.W. Bush, Leonard composed the prose poem “I Want a President,” a wish list of character traits for the nation’s next leader. At first, the poem circulated among friends on loose-leaf photocopies; eventually, the art journal “LTTR” printed it on postcards. But it would gain even wider recognition years later thanks to another presidential election — days before the 2016 presidential election, Leonard wheat-pasted a 30-foot-tall copy of the text at the foot of Manhattan’s High Line. At an event hosted by the park, Leonard said she was both gratified and “utterly horrified” that two decades after she wrote the poem, it still had such relevance. This spring, when T assembled a panel of six writers to make a list of the 25 most influential works of postwar queer literature, they included "I Want a President." See more of the most essential works of fiction, poetry and drama at the link in our bio. Written by @cocoromack. Photos: © Zoe Leonard, courtesy of the artist; portrait courtesy of Dirk Bleicker.

For the past 50 years, the artist Pippa Garner (@misc.pippa) has been satirizing U.S. consumer habits with designs that are not always entirely useful. (They include high-heeled roller skates and a shower in a can.) Few things have escaped her restless, imaginative tinkering, from automobiles to her own body, which she began, in her words, “gender-hacking” in the mid-1980s. That may be why the art world establishment long treated Garner, 81, as a fringe character, more madcap inventor than conceptual artist in the tradition of Marcel Duchamp or Andy Warhol. But this year, things seem poised to change for Garner, who debuted her first U.S. solo museum show at @art_omi, the international arts organization in Columbia County, N.Y., on June 24. In the fall, Garner’s work will also be featured in the Made in L.A. biennial at the @hammer_museum, not far from her home in Los Angeles. (For many years, she could be seen traversing the neighborhood in one of several four-wheeled pedal vehicles she designed and built.) The biennial, which will coincide with the U.S. leg of a touring career-survey exhibition at New York’s @white_columns gallery and the publication of a monograph in October, will seek to reframe Garner as an important parallel and associate to other West Coast artists who critiqued the consumerism, mass media and car culture of the postwar era, such as Ed Ruscha, Chris Burden and Ant Farm. Pictured here is Garner’s 1986 sculpture “Long Time No Sea,” for which she embedded the cockpit of a speedboat in the roof of a ’68 Buick LeSabre, producing what she called the world’s first ever “Nauti-Mobile.”  Read more about why the conceptual artist is finally getting her due at the link in our bio. Written by @evanpmoffitt. Photo courtesy of the artist and Stars Gallery, Los Angeles.

Whether in a field or atop a building, more and more Berlin chefs seem to be cooking over open flames. Mischa Amadeus Olma (@mischa_olma), a founder of @woodcuisine, arranges foraging workshops and dinners outdoors (currently in an herb garden in the leafy Mariendorf neighborhood) where he and friends offer a changing menu — one evening it was fire-grilled trout and a dessert of pancakes served with freshly foraged honeycomb — that is cooked on the sides of a steel fire ring forged by the Swiss sculptor Andreas Reichlin (@meinfeuerring_andreas). Elsewhere in the city, new restaurants are putting the grill front and center. Read the full story, by Gisela Williams (@giselaatlarge), at the link in our bio. Photo courtesy of Woodcuisine. #TList

A creative summer cocktail has the potential to keep your guests refreshed and, perhaps most importantly, impressed. Five leading bartenders and mixologists share drink recipes that are perfect for the season, including That Watermelon Drink, a take on a watermelon margarita, by Naren Young (@forkandshaker), pictured here. The cilantro is optional, he notes, “but the result is far superior with it in there.” See all the recipes at the link in our bio. Written by @edcumming. Photo courtesy of Michael Pisarri (@pisarriphoto).

Last week, T released its list of the 25 Most Influential Works of Postwar Queer Literature, chosen by six writers — the essayist and novelist Roxane Gay (@roxanegay74), the playwright and educator James ljames (@jwijames), the playwright and actor Lisa Kron (@elkay100), the journalist and TV writer @thomaspagemcbee, the novelist Neel Mukherjee and the fiction and nonfiction writer Edmund White — who all agreed not to discuss or nominate one another’s work. And yet queer literature (and gay literature, specifically) wouldn’t be as rich as it is today without one panelist in particular: White, 83, who’s written dozens of fictional and nonfictional works since his debut, “Forgetting Elena,” a satire about the Fire Island Pines (and the manners that govern the gay summer enclave), was released 50 years ago. Many of White’s varied, frank, funny, occasionally somber books might have been chosen had the author not been a participant himself. But another panelist, the writer Neel Mukherjee, singled out “The Farewell Symphony,” a 1997 autobiographical novel that concludes a trilogy — along with “A Boy’s Own Story” (1982) and “The Beautiful Room is Empty” (1988) — depicting shifting gay life during the last half of the 21st century. “I know panelists’ work is not allowed, but there’s no way to talk about postwar queer Anglophone literature without mentioning Ed,” Mukherjee said in an email about the project. “He was a game-changer for our subject under discussion.” See the books that made the list at the link in our bio. Written by @kurtsoller. Photo: Ulf Andersen/Getty Images