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    "original_url": "https:\/\/www.nytimes.com\/2026\/02\/12\/t-magazine\/nyc-artists-chefs-night.html?campaign_id=9&emc=edit_nn_20260216&instance_id=171166&nl=the-morning&regi_id=122976029&segment_id=215349&user_id=b25c5730c89e0c73f75709d8f1254337",
    "parsed_content": "New York Is Getting Sleepier. These Artists Are Wide Awake.The city is going to bed earlier, but there are still those harnessing the creative power of the night.New York Is Getting Sleepier. These Artists Are Wide Awake.The city is going to bed earlier, but there are still those harnessing the creative power of the night.Credit...Supported bySKIP ADVERTISEMENTShare full articleIntroduction by Ligaya MishanInterviews by Kate GuadagninoMiguel Morales and Coco RomackPhotographs by Richard BarnesFeb. 12, 2026Night is the other country. At some point, you cross the border \u2014 not at sunset or under the long decline of twilight, not even when the sun drops 18 degrees below the horizon and darkness is general. Not until the number of people on the streets dwindles, until everyone else, it seems, has tucked themselves in and closed their eyes to the world, and it belongs to us alone.Is time passing? Without the sun inching above, can you really tell? Deep night \u2014 \u201cdead of night,\u201d we say, \u201cwolf hour,\u201d \u201cwitching hour,\u201d \u201cgraveyard shift,\u201d casting it as a realm for ghosts and those willing to walk with them, for the unruly, the menaces, the prowlers \u2014 is a hole punched out of day, unmonitored, unaccounted for, when anything can happen and no one need ever know.Stay up until dawn and you\u2019re a thief. Night is stolen time. There\u2019s never enough, and what there is so often belongs to others: our employers, our overlords. It feels like cheating to commandeer these late hours of consciousness, as if that were a way of carving out more life.Never mind that we\u2019re also stealing from ourselves, our sleep, our health. Maybe that\u2019s part of the allure, how self-destructive being a night owl can be, especially if at dawn you have to keep going, pack the lunchbox and see the kids off to school, slot into your cubicle, produce something. Staying up is reckless and bad for us. Give us more.AdvertisementSKIP ADVERTISEMENTSign up for the T Magazine newsletter. A weekly roundup of T Magazine recommendations, plus insider travel guides, expert beauty advice and the latest stories from our print issues. Get it sent to your inbox.Scientists worry that we\u2019re losing sight of the stars in the smear of city lights. They have a name for this, noctalgia \u2014 night grief. But humans adapt. We can still find the dark.I remember nights like other lives, coming off a frantic dance floor in a sweat and then the shock of the cool dark, sitting on a fire escape as the music ebbs and talking for hours to someone who is at last able to reveal who they really are and who they might not be again. I\u2019ve never loved New York more than in the dark, all those electric hearts beating, buildings with lit-up rooms and the rest like knocked-out teeth, walking fast in heels with the tips of my keys slipped between my fingers for self-defense and giddy with adrenaline, thinking, \u201cI know this, this is mine. This is my city.\u201dNew York was once the city that never sleeps. Now restaurants drop their grates well before midnight. The law still says that bars can let alcohol flow until 4 a.m., but they don\u2019t, whether to be good neighbors or because their patrons are just too tired. Twenty-four-hour coffee shops and diners, the last refuges of vagabonds, are dying. More and more it seems like the lights are on but everybody\u2019s home, in bed.Save for we stubborn, happy few. Our minds bloom only after sundown, like those flowers that hold themselves in until the dutiful plants of day close their petals and then unleash that heady, frank, almost unbearable scent, too scandalous for waking hours.AdvertisementSKIP ADVERTISEMENTOlder now, I find myself at night locked at my desk, writing, staring into the black pit of the computer screen, waiting as the noise of the mind quiets and makes room for all I\u2019m afraid of: silence, myself, God. Until the words come.I wonder sometimes about the others out there, living on inverted time. Haven\u2019t writers and artists always been citizens of the shadows and what they might reveal to us? Think of Lee Krasner in the late 1950s and early \u201960s, in the studio all night, teaching herself to paint with a new palette of black, white and umber, because she believed that colors could be understood only under natural light; of Alvin Baltrop in the \u201970s and \u201980s, wandering the decaying West Side piers with his camera, documenting the lives of runaways and cruisers, drag queens and artists and criminals (and aren\u2019t those two sometimes one and the same); of Louise Bourgeois in the mid-90s, sketching upright in bed as she stared down insomnia and creating an astonishing 220 drawings over eight sleep-denied months.Night falls, day breaks \u2014 the spell, perhaps; the idea that we might\u2019ve gotten away with something. The sun rises and we must face the fact of light, hollowing out the sky. Day belongs to ordinary life. Night is refusal. I will not go to bed. I will not go.\u2014 Ligaya MishanImageJane Benson, photographed with her twins in her Manhattan home studio on Dec. 10, 2025.Credit...Richard BarnesJane BensonConceptual Artist, 52, ChelseaWe have a room on the top floor of our home, off a roof garden, that\u2019s banked with windows. It\u2019s largely been forgotten by the rest of my family because it\u2019s hot in the summer and freezing in the winter, though my twin 10-year-old girls sometimes join me very early in the morning if they wake up with a nightmare. I rise every day at 4 a.m. and work up there until about a quarter to 7. After that, I usually have to get everyone up, including my husband.AdvertisementSKIP ADVERTISEMENTThose three-ish hours are everything to me. There\u2019s almost no sound, just the odd beep of a car, the sporadic roar of a garbage truck. But the main thing is that no one\u2019s spoken to me, and I haven\u2019t had to respond.Before I do anything, I make a cup of tea with two bags so that it\u2019s really strong. My work is multidisciplinary in nature. It involves sound, sculpture, digital print and drawing; there are many facets to be thought about and combined. Right now, I\u2019m working with the six chapters in Mary Shelley\u2019s \u201cFrankenstein\u201d (1818) that are narrated by the so-called creature, who I actually believe is the voice of Mary herself. I\u2019m removing all of the text from one chapter, apart from places where the syllables of solf\u00e8ge [\u201cdo,\u201d \u201cre,\u201d \u201cmi,\u201d \u201cfa,\u201d etc.] appear, and then will work with the mezzo-soprano Hai-Ting Chinn to perform the resulting score. In the early morning, these fragments of sentences fall away between the notes that I\u2019m locating, and I piece them together into bits of lyric prose. That time and silence allow my subconscious to be in charge.I question whether I\u2019d have to behave this way if I were bringing up kids somewhere else. New York is such a furious city. When the day starts, there\u2019s chatter \u2014 human chatter, machine chatter \u2014 and I can\u2019t think with all that chaos. I used to teach at Cornell and recently bumped into an old student on the street. She told me she\u2019d gotten married and said, \u201cWhat if I have kids? How am I going to make work?\u201d Without thinking, I told her, \u201cYou\u2019ll be even more organized.\u201d I think that\u2019s what happens: You have to present yourself with a new way to function. Kids need to be in certain places at certain times, and there are things you can\u2019t change, but I can give myself an extra three or four hours in the day. It\u2019s my way of refusing to accept that I can\u2019t find the time.\u2014 interview by Coco RomackImageWendell Pierce, photographed in Manhattan\u2019s Central Park on Dec. 13, 2025.Credit...Richard BarnesAdvertisementSKIP ADVERTISEMENTWendell PierceActor and Producer, 62, Upper West SideLangston Hughes titled his second autobiography \u201cI Wonder as I Wander\u201d (1956), and that describes me to a T. My schedule\u2019s always changing but, when I have free time, I get out into the city. I begin with music, and if that can include a meal, great. Guantanamera is a wonderful Cuban place that has live music, dinner, dancing. Then I\u2019ll walk a few blocks north to Jazz at Lincoln Center, where I\u2019ll go to Dizzy\u2019s Club \u2014 it often has a late-night set. And it\u2019s a beautiful locale: You get to look out over Central Park, which I love to walk across at night; for a brief moment, you feel like you\u2019re under the stars in the countryside. Dizzy\u2019s was started a couple of decades ago by [the Jazz at Lincoln Center artistic director] Wynton Marsalis, a friend of mine from New Orleans. And that\u2019s the tradition we grew up in, going from club to club to hear music. After Dizzy\u2019s, I head downtown to do that jazz club stroll. One of the best places is Smalls, a club [in the West Village] that goes almost all night long. It reminds me of those bygone nights of New York, going back to the beatniks. Then I\u2019ll bring in the morning uptown at Shrine, on Adam Clayton Powell Jr. Boulevard. I love Afrobeat, and it\u2019s as if you\u2019re in a club in Accra, Ghana, or Ouagadougou, Burkina Faso.When I was playing Willy Loman in Arthur Miller\u2019s \u201cDeath of a Salesman\u201d (1949) starting in 2019, I slept all day. It\u2019s a towering play \u2014 one of the greatest challenges an actor can have. I\u2019d finish performing and need something to relax me. In London, I\u2019d go to Ronnie Scott\u2019s [in Soho] and stay until 3 or 4 in the morning, and when I brought the play to Broadway, I did the same thing with jazz clubs here. They became my sanctuaries and part of my creative process.During the day, you only see the chaos and hubbub. At night, there\u2019s a quietness. You can hear your soul and are reminded of your visions and desires. It\u2019s an absolute clarity of possibility. Then you open the door to one of these nighttime places and the music is thumping, and that\u2019s also a reminder \u2014 of the energy that\u2019s always percolating just under the city\u2019s surface.Lately, New York is a little bit less the city that never sleeps \u2014 it seems to doze off. But I think that\u2019s just a trend. I just learned about how, with this new generation, everyone\u2019s wearing their Oura Ring and tracking their sleep. As a middle-aged man, I\u2019m the one who\u2019s supposed to be doing that. The nightlife of New York is classic. Miles Davis used to walk the streets at night. For two years, Sonny Rollins would only play his horn day and night on the Williamsburg Bridge. For me, staying up late isn\u2019t a routine. It\u2019s a ritual \u2014 something you do over and over to enrich yourself.\u2014 interview by Kate GuadagninoImageAnn Craven, photographed on the rooftop of her Manhattan apartment building on Dec. 8, 2025.Credit...Richard BarnesAdvertisementSKIP ADVERTISEMENTAnn CravenPainter, 64, TriBeCaI\u2019m on the top floor of my building, and it\u2019s only one more flight up to the roof. Just like the sun rises, so does the moon; that happens later every day, so sometimes I\u2019m up there painting all night. I lug my easels up one by one. There\u2019s not too much other stuff: three canvases, oil paint, brushes and, most important, candles. I don\u2019t bring any other light \u2014 if I have too much, I can\u2019t see the night sky. I know from muscle memory what paint is where on my palette, so I can work in total darkness if I have to.I\u2019ve always painted from life, but when I was in graduate school and an assistant to Alex Katz, he really pushed me to think about what I was doing. Painting the moon in particular has become a lifelong project, like a diary of where I\u2019ve been: I\u2019ve painted it behind my grandmother\u2019s crystal vase, which I filled with flowers and set up on a stool in Maine [where I spend each summer]. I\u2019ve caught it as it kissed the Empire State Building. The practice is also a homage to the artists who\u2019ve painted the moon in the past, like Edward Hopper, Alice Neel and Lois Dodd. I want to believe all these artists had a similar conversation with nature, which tells us everything.As the moon rises and moves across the sky, I\u2019m thinking, \u201cWhat color is it now? What color am I going to choose next?\u201d When it gets higher, it\u2019s so pale that it doesn\u2019t really have any color. The other night, I mixed ivory black and cobalt blue for the sky. For the moon I used titanium white, cadmium yellow and a tiny bit of cadmium red for warmth. If I\u2019m lucky, I\u2019ll see the moon setting over the Hudson River, right when it\u2019s leaving the sky and tinged with orange.Starting in 1999, I had a studio in Harlem in a building that, for many years, I shared with the artist David Hammons. Just last April, I expanded my home studio in TriBeCa, where I\u2019ve lived since 2011. Painting the night sky is much different in the city than it is in Maine; up there, you get crisp views. But in New York, you have a lot more atmosphere, whether it\u2019s pollution or just more people breathing. You see less of the sky but more of human life. It\u2019s totally quiet when I\u2019m up on the roof, and nobody else is there, so it feels intimate and comforting. Yet I know there are hundreds of souls around me who are making stuff, having dinner and going to bed, and that makes me feel less alone.\u2014 interview by C.R.ImageQuang \u201cQ\u201d Nguyen (far left), photographed at the Manhattan restaurant Buf\u00f3n, where he\u2019s a chef, alongside (from left) Buf\u00f3n\u2019s co-owner Jacob Nass; Kabawa\u2019s chef, Paul Carmichael; Chez Fifi\u2019s chef, Zack Zeidman; Buf\u00f3n\u2019s other chef, Dina Fan;Le Dive\u2019s general manager, Kahiem Rivera; Hellbender\u2019s chef, Yara Herrera; and the Sunn\u2019s chef-owner, Sunny Lee, on Jan. 5, 2026.Credit...Richard BarnesAdvertisementSKIP ADVERTISEMENTQuang \u201cQ\u201d NguyenChef, 42, Lower East SideI\u2019ve always stayed up late, but in restaurants, that happens organically. If you have a great service \u2014 if you can get all the fish to swim in the same direction and you serve great food \u2014 you end on this high, and you\u2019re not ready for the night to be over. That\u2019s when we\u2019ll have a few shots to celebrate. And at our new European-inspired restaurant, Buf\u00f3n, we like to host: We set out to make it a home for people from other restaurants to hang out after service. Friends from Corima and Colbo Next Door come over and,\u00a0before you know it, it\u2019s 2\u00a0a.m. and there are 12 people sitting around the table. We\u2019re really into the card game Big Two right now.When I first started cooking, it was 2010 and I was in Midtown at M\u00e1 P\u00eache. We\u2019d always go to Cassidy\u2019s, a bar around the corner, and then, since Koreatown was on the way home, we\u2019d often do karaoke. I\u2019m not going to say things never came back in the city post-Covid, but you run into fewer familiar faces. There was also a culture that doesn\u2019t exist anymore of going out to get food after work. My group of friends went to Chinatown for Wo Hop a lot. It used to be open until 4:30\u00a0a.m. Now it closes at 10.After we leave Buf\u00f3n, we\u2019ll frequently end up at Josie\u2019s, a dive bar in the East Village. They stay open until 4, so that\u2019s detrimental if you\u2019re going to try to run service the next day. But it\u2019s a good time.\u2014 interview by K.G.ImageAmanda Perdomo, photographed outside the Brooklyn restaurant Strange Delight, where she runs her pop-up, Amanda\u2019s Good Morning Caf\u00e9, on Jan. 9, 2026.Credit...Richard BarnesAmanda PerdomoPastry Chef, 34, Fort GreeneLast year, I worked as a pastry chef at Kellogg\u2019s Diner in Williamsburg, and as the consulting pastry chef for the nearby restaurant JR & Son. Kellogg\u2019s is open 24 hours, so I have experience being a night owl. Sometimes, I\u2019d leave around 2 in the morning. It\u2019s funny \u2014 you get off and you\u2019re tired, but not in a way where your brain is off, so you stay up to decompress. Now I\u2019m running a pop-up called Amanda\u2019s Good Morning Caf\u00e9. We\u2019re open at 8 a.m., which means I need to be at Strange Delight, the Fort Greene restaurant I operate from, no later than 4:30 a.m., especially because I make everything from scratch. I\u2019m often awake earlier than I need to be, sometimes as early as 2:30 a.m., thinking and planning. And once I\u2019m in that mode, I might as well go to work.AdvertisementSKIP ADVERTISEMENTIt\u2019s totally dark when I leave my apartment, and the half-hour or so subway commute from Crown Heights, where I live, can be spooky. You\u2019re with people who are leaving the bar or club, but it feels like there are fewer people out these days than there used to be. Or I\u2019ll take a car and get dropped off a block or two from the restaurant. There\u2019s no foot traffic at that hour. However, Strange Delight is next to Mr. Mango, a market that\u2019s open 24 hours, so I feel a sense of comfort knowing that, even when it\u2019s completely desolate outside, there\u2019s at least one person awake with me.From the moment I get to the restaurant, I\u2019m working. I\u2019m turning on the ovens, the proofer. I\u2019m listening to music \u2014 the Cure, Wu-Tang Clan, Siouxsie and the Banshees, Gil Scott-Heron \u2014 and jamming with my headphones on. First I make the seasonal hand pies and the muffin of the day. Then I\u2019ll do the good morning buns (honey buns with a buttermilk glaze) and scallion-Cheddar biscuits. It\u2019s my quiet time and when I get to be curious. Once my employees start arriving, from 5 a.m. on, I\u2019m pulled in 10 different directions. Then there are the customers, a couple of whom come in right away. You don\u2019t really need pastries to live, so I\u2019m thinking, \u201cMan, these people, every day, they\u2019re like, \u2018I gotta get this thing from there.\u2019 How special is that?\u201d\u2014 interview by K.G.ImageKenny Rivero, photographed through the window of his Bronx studio on Jan. 7, 2026.Credit...Richard BarnesKenny RiveroArtist, 44, Port MorrisAfter I teach [visual arts at Columbia University] on Wednesday evenings, I go back to the studio at 10 or 11 at night and paint till 3 a.m. Then on Thursday mornings, I\u2019ll come back and clean. I generally do the same thing every night and morning \u2014 working, taking a break, coming back, cleaning, leaving again \u2014 until I have class again the following week. I began this ritual in 2003, when I started re-evaluating what paint meant to me: how it appeared in my life outside of art, on the walls in the apartment I grew up in [in Washington Heights], caked on steel beams, those industrial pinks and greens you find in \u201980s and \u201990s New York government buildings. I connected painting to excavating or treating a surface instead of making an image. A few years later, while working as a custodian at David Zwirner, I realized the act of sweeping reflected the accumulation of the day, and I started to think of painting in the same way, as a historical act.Right now, I\u2019m working with some local musicians, making beats and playing percussion with them, which relieves me from having to work on art. We\u2019ll go to the Bronx Brewery or the diner Walnut Bus Stop, and then afterward people will come by my studio and chill. Sometimes that\u2019ll include music; sometimes it\u2019s just \u201cHere are some materials, let\u2019s draw together.\u201dAdvertisementSKIP ADVERTISEMENTFrom my apartment nearby, you can sometimes hear the East River or the planes from LaGuardia. A lot of produce comes into the country through Hunts Point on barges. On my neighborhood walks to the studio, I\u2019ll see something and become fascinated by it. I want to do a series of paintings of flat aluminum foils from sandwiches, with the wax paper inside \u2014 those can be really gorgeous. I might start collecting them, but I don\u2019t feel like explaining to people why I\u2019m picking them up.\u2014 interview by Miguel MoralesThese interviews have been edited and condensed.Photo assistant: Ernesto Eisner. Production: Ian William BaumanLigaya Mishan is a chief restaurant critic for The Times.Coco Romack is the assistant managing editor of T Magazine.A version of this article appears in print on Feb. 22, 2026, Page 132 of T Magazine with the headline: The End of the Night. Order Reprints | Today\u2019s Paper | SubscribeSee more on: Wendell PierceShare full articleRelated ContentAdvertisementSKIP ADVERTISEMENT",
    "ai_headline": "New York Is Getting Sleepier. These Artists Are Wide Awake.",
    "ai_simplified_title": "Artists Embrace Nighttime Creativity in Sleepy NYC",
    "ai_excerpt": "The article explores how artists and chefs in New York City are embracing the night, despite the city becoming sleepier. It features interviews with various creatives who find inspiration and productivity in the late hours.",
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