New York Magazine
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1. E-Sarn Sausage
Sour-style sausage from the northeast region of Thailand called Isan (or Issan or Esarn, if you prefer). It gets its oomph from fish sauce and galangal, and you eat it with peanuts, raw chiles, red onion, and fresh ginger. $7 at Ayada, 77-08 Woodside Ave., Elmhurst; 718-424-0844.
Photo: Danny Kim
2. Sam Gyub Sal
South Korea’s No. 1 pork product is this uncured belly, cooked on a tabletop grill, scissored into pieces, rolled up in lettuce leaves with raw garlic and ssamjang, then gobbled by its most fervent fans in a single bite like a Nathan’s Fourth of July hot dog. $18.95 at Han Joo, 41-06 149th Pl., Murray Hill; 718-359-6888.
Photo: Danny Kim
3. Anticuchos de Corazón
Peruvian-style veal (or beef) hearts grilled on a stick. On the streets of Lima, they’re as ubiquitous as pretzels are in midtown. $8.71 at Urubamba, 86-20 37th Ave., Jackson Heights; 718-672-2224.
Photo: Danny Kim
4. Cuy
Cover the children’s eyes. This is guinea pig imported from Ecuador, and when it arrives at the table, tiny paws and all, it’s bound to prompt that age-old debate: Pet or meat? In this context, it’s decidedly meat, spit-roasted and served on a bed of potatoes. $45 at El Pequeño Coffee Shop, 86-10 Roosevelt Ave., Jackson Heights; 718-205-7128.
Photo: Danny Kim
5. Crispy Pata
Resoundingly crunchy, abundantly juicy, fantastically fatty Filipino-style pork “knuckle” (foot and leg). Pound for pound, it’s the best deep-fried hunk of flesh in the borough. $10 at Ihawan, 40-06 70th St., Woodside; 718-205-1480.
Photo: Danny Kim
6. Lulya Kebab
The name comes from the Persian word meaning “rolled kebab,” but think of it as the meatball meets the skewer on exceptionally succulent terms. In Rego Park (a.k.a. Regoparkistan), no Central Asian feast is complete without a round or two. $2 per piece at Cheburechnaya, 92-09 63rd Dr., Rego Park; 718-897-9080.
Photo: Danny Kim
7. Cevapi
Char-grilled Bosnian beef sausages garnished with a zingy red-pepper spread (ajvar), a clotted cream of sorts (kajmak), and raw onion, best crammed into a puffy pita (somun) like circus clowns into a Volkswagen. Big throughout the Balkans and in expat strongholds from Ridgewood to Astoria. $6 for five at Cevabdznica Sarajevo, 37-18 34th Ave., Astoria; 718-752-9528.
Photo: Danny Kim
Slide Header
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.