Best Photos of the Day

Lars Eidinger, center, as Hamlet in Thomas Ostermeier’s production at BAM’s Harvey Theater in New York, Oct. 26, 2022. Ostermeier’s version of a Shakespearean classic unleashes even more madness than might be expected, writes the New York Times theater critic Maya Phillips. (Sara Krulwich/The New York Times).

Jim Parsons, center, in a revival of the 2002 musical “A Man of No Importance,” at Classic Stage Company in New York, Oct. 20, 2022. After 12 seasons of “The Big Bang Theory,” Parsons knows not only what marks to hit but exactly how to hit them. (Sara Krulwich/The New York Times).

The ballet dancer James Whiteside in his dressing room at the Koch Theater at the Lincoln Center for the Performing Arts, in New York, Oct. 29, 2022. The American Ballet Theater’s principal dancer, who ruptured a tendon in December, has taken his first step back to the stage in Alexei Ratmansky’s “Whipped Cream.” (Victor Llorente/The New York Times).

Letters, which will help spell out David Geffen Hall, after Avery Fisher Hall at the Lincoln Center for the Performing Arts was renamed after the entertainment mogul, in New York, Sept. 17, 2015. Geffen has planted himself into the pantheon of leading U.S. philanthropists by handing out $1.2 billion over the past 25 years to museums, theaters, concert halls, universities and medical centers. (Brian Harkin/The New York Times).

The audience at a performance of “Song of the Ambassadors” at Alice Tully Hall, at the Lincoln Center for the Performing Arts, in New York, Oct. 25, 2022. Scientists and artists are using artificial intelligence to unlock healing and creativity within ourselves and beyond. (Vincent Tullo/The New York Times).

An aluminum foil chandelier, which the artist Steve Keene created years ago for his daughter’s fourth birthday party, still hangs in the family’s home in New York, Oct. 18, 2022. The artist’s studio and living space, created with his wife, Starling Keene, an architect, houses a one-man assembly line of affordable art — enough to fill a new book. (Lila Barth/The New York Times).

The artist Steve Keene with his wife, Starling, the director of architecture for the city’s Department of Design and Construction, in New York, Oct. 18, 2022. The artist’s studio and living space, created with his wife, houses a one-man assembly line of affordable art — enough to fill a new book. “She’s a better artist than me, a better painter and a better everything else,” Keene said.

The Radisson Collection Hotel Palazzo Touring Club in Milan, Sept. 1, 2022. An optimistic energy pervades the streets of Milan, where new cultural projects are reviving defunct industrial spaces, a diverse culinary scene is blossoming, and unexpected discoveries await travelers to this resilient, resurgent and stylish city. (Alessandro Grassani/The New York Times).

The Rubell family, from left, Donald, Mera and Jason, in front of Kehinde Wiley's monumental “Sleep” in the new Rubell Museum DC, in Washington, where the inaugural show, “What’s Going On,” is named for the 1971 album and song by Marvin Gaye, Oct. 26, 2022. The Rubells, Miami art collectors, are extending their reach to the nation’s capital with some 200 works and a nod to Gaye, who attended school in the original building. (Justin T. Gellerson/The New York Times).

From left, Austin Kelly, Lisa Borres and John Harnage rehearse “Diggity,” a collaboration by the artist Alex Katz and the choreographer Paul Taylor that will be featured during the Paul Taylor Dance Company’s season at Lincoln Center, in New York, Oct. 5, 2022. There were egos and clashes, but the choreographer and the artist made 16 dances together over more than 50 years, work spotlighted in the Taylor company’s season. (Julieta Cervantes/The New York Times).