>>> COMING UP ON NYC ARTS.

A VISIT TO THE NEW YORK HISTORICAL SOCIETY AND BLACK IS BEAUTIFUL.

THE PHOTOGRAPHY OF WRATH WEIGHT, FEATURING HIS STUNNING PORTRAITS OF HARLEM'S VIBRANT ARTISTIC COMMUNITY IN THE 1950s AND 60s.

>> MOMMY DOCUMENTED A VERY IMPORTANT PERIOD OF HISTORY, OF HARLEM, JAZZ, WOMEN'S CLOTHING, HAIR, EVERYTHING THAT HAD TO DO WITH BLACK EXPRESSION.

THESE WILL LIVE ON AS VERY IMPORTANT DOCUMENTS AND ALSO VERY WONDERFUL PHOTOGRAPHS.

>> A TRIP TO THE BROOKLYN MUSEUM AND ITS ARTS OF JAPAN GALLERIES.

>> ONE OF THE GREAT HIGHLIGHTS IN THE NEW GALLERY IS A PAIR OF FOLDING SCREENS THAT DATE FROM ABOUT 1610.

THESE WERE MADE FOR THE INTERIOR OF A CASTLE AND THEY HAVE LARGELY GOLD BACKGROUNDS WHICH WOULD HAVE HELPED TO REFLECT LIGHT IN THE DARK INTERIOR OF THE CASTLE AND MADE THE ROOM SORT OF MORE WARM AND GLOWING.

>> AND AN INTRODUCTION TO NEW YORK, 1962 TO 1964, NOW ON VIEW AT THE JEWISH MUSEUM.

MORE THAN 180 WORKS OF ART ARE ON VIEW, INCLUDING PAINTING, SCULPTURE, PHOTOGRAPHY AND FILM.

THEY ARE SHOWN ALONGSIDE INNOVATIONS IN THE FIELDS OF FASHION, DESIGN AND DANCE.

>>> GOOD EVENING AND WELCOME TO NYC ARTS.

I'M PAULA ZAHN ON LOCATION AT THE MUSEUM OF THE CITY OF NEW YORK.

LOCATED ON FIFTH AVENUE AT 103rd STREET RIGHT ACROSS FROM CENTRAL PARK, THE MUSEUM HAS LONG BEEN THE CITY'S STORYTELLER.

SINCE ITS FOUNDING ALMOST 100 YEARS AGO, IT HAS ENGAGED NEW YORKERS AND VISITORS FROM AROUND THE WORLD BY CELEBRATING, DOCUMENTING AND INTERPRETING THE CITY'S PAST, PRESENT AND FUTURE.

THE DAZZLING FOCAL POINT OF THE MUSEUM'S MAIN ENTRY IS CALLED STARLIGHT.

A BRILLIANT LIGHT INSTALLATION SUSPENDED ABOVE THE ROTUNDA.

CONCEIVED BY COOPER JOSEPH STUDIO, IT ENHANCES THE ROTUNDA'S SWEEPING CIRCULAR STAIRCASE.

WITH MORE THAN 5000 POINTS OF LIGHT, IT BOLDLY COMPLEMENTS THE ARCHITECTURE OF THE MUSEUM'S 1932 NEO-GEORGIAN HOME.

RIGHT WHEN HE THE STAIRCASE IS THE ENTRANCE TO FOOD IN NEW YORK , BIGGER THAN THE PLATE.

SOME OF THE CRITICAL ISSUES WE FACE GLOBALLY FROM THE CLIMATE CRISIS TO PUBLIC HEALTH AND WORKERS' RIGHTS ARE INSEPARABLE FROM HOW AND WHAT WE EAT.

THE STORIES WE SHARE ABOUT FOOD IN THE CITY CONNECT US TO EACH OTHER, OUR CULTURE AND NATURE.

FOOD IN NEW YORK FEATURES THE WORK OF MORE THAN 20 CONTEMPORARY ARTISTS AND DESIGNERS, ALL THINKING CREATIVELY ABOUT THE FUTURE OF FOOD AND FOOD SYSTEMS.

THE EXHIBITION LOOKS AT THE EFFORT TO FIND NEW APPROACHES TO CREATING FOOD LOCALLY.

THE CITY'S CURRENT VULNERABILITIES WERE EXPOSED IN THE FACE OF HURRICANE SANDY AND THE PANDEMIC , AS STORES STRUGGLED TO KEEP THEIR SHELVES STOCKED.

FROM STREET VENDORS TO PUBLIC MARKETS, THE EXHIBITION ALSO EXPLORES THE POSSIBILITIES FOR REDESIGNING FOOD TRANSPORTATION AND DISTRIBUTION.

THE BIG APPLE IS KNOWN FOR MANY THINGS, INCLUDING ITS DINING EXPERIENCES, FROM HOME-COOKED MEALS IN TINY KITCHENS, TWO SMALL NEIGHBORHOOD BISTROS, TO UPSCALE ESTABLISHMENTS.

TODAY, CUISINES FROM ALL OVER THE WORLD MIX WITH LOCAL FAIR AND SOME 23,000 RESTAURANTS AND EATERIES.

THE MOST IN THE NATION.

BUT FINDING NEW WAYS TO MAKE OUR EATING EXPERIENCES AFFORDABLE, ACCESSIBLE, SUSTAINABLE AND EQUITABLE HAS BECOME AN URGENT NECESSITY.

FOOD IN NEW YORK, BIGGER THAN YOUR PLATE IS ON VIEW THROUGH FALL 2023.

NOW, A TRIP ACROSS TOWN TO THE NEW YORK HISTORICAL SOCIETY FOR A LOOK AT BLACK IS BEAUTIFUL, THE PHOTOGRAPHY OF WRATH WEIGHT.

HE TRACES HIS ARTISTIC AND POLITICAL SENSIBILITIES TO HIS YOUTH SPENT IN THE BRONX.

THIS EXPLORATION OF BRATHWAITE'S LIFE AND WORK FEATURES 40 STUNNING STUDIO PORTRAITS AND BEHIND-THE-SCENES IMAGES OF HARLEM'S VIBRANT ARTISTIC COMMUNITY OF THE 1950s AND 60s.

INFLUENCED BY ACTIVIST, MARCUS GARVEY, KWAMI AND HIS BROTHER FOUNDED THE AFRICAN JAZZ SOCIETY IN STUDIO IN 1956.

THIS COLLECTIVE OF ARTISTS WORK TO ADVANCE A MESSAGE OF ECONOMIC EMPOWERMENT AND POLITICAL CONSCIOUSNESS IN THE COMMUNITY.

THEY ALSO ADDRESSED HOW BLACK WOMEN WERE AFFECTED BY WHITE STANDARDS OF BEAUTY.

MARILYN SUTTON KUSHNER IS OUR GUIDE.

>> KWAME BRATHWAITE WAS BORN TO PARENTS WHO CAME FROM BARBADOS AND THEN THEY MOVED HERE TO BROOKLYN AND UP TO THE BRONX.

THEY WERE VERY INTENT UPON GIVING THEIR CHILDREN THE EXPERIENCE OF THE CITY.

THEY WOULD TAKE THE CHILDREN TO MUSEUMS, LISTEN TO CONCERTS, AND THAT REALLY COMES THROUGH AND HOW HE PROCEEDED WITH HIS ADULT LIFE.

WHAT BROUGHT KWAME TO THE POINT THAT HE WOULD BECOME A PHOTOGRAPHER OF THE EMMETT TILL PHOTOGRAPHS OF THE 1950s WHICH HAD AN INCREDIBLE EFFECT ON KWAME BRATHWAITE, TO THE POINT WHERE HE DEDICATED THE REST OF HIS LIFE TO SOCIAL COMMENTARY.

KWAME HAD CONNECTIONS WITH MARCUS GARVEY'S IDEAS.

HE WAS A SOCIAL ACTIVIST WHO DIED IN 1940.

MARCUS GARVEY WAS VERY INTENT ON THE IDEA OF ECONOMIC INDEPENDENCE AND THE BLACK COMMUNITY.

KWAME WAS THE ONE WHO FOUNDED AJAX.

IT STANDS FOR AFRICAN JAZZ SOCIETY.

AND A JAS S STANDS FOR AFRICAN JAZZ AND ART SOCIETY STUDIOS BECAUSE THIS WAS WHEN THE MUSIC REALLY CAME IN.

OUT OF A JAS K MODELS.

THE RENT US A MODELS CHOLISH EVERYTHING ABOUT THE IDEAS A WHITE BEAUTY.

IN THE 1960s, IF YOU WEREN'T TALL AND SKINNY AND WHITE, YOU'RE BEAUTIFUL.

SO THEY BEGAN TO LOOK AT, WHAT IS BLACK BEAUTY?

BLACK BEAUTY HAS NOTHING TO DO WITH ANY OF THOSE STANDARDS.

BUT ALSO GAVE THEM AN OPPORTUNITY TO LOOK BACK AT THEIR AFRICAN HERITAGE AND BEGIN TO DESIGN AND MAKE THEIR OWN DRESSES WAS SOMETHING THAT WAS NEW BECAUSE THERE WERE NO MAJOR MANUFACTURERS HERE IN THE UNITED STATES THERE WERE DOING THAT AT THE TIME.

THAT REALLY COMES THROUGH IN THIS EXHIBITION.

YOU CAN SEE PHOTOGRAPHS OF THE RANDASA MODELS WEARING THEIR DESIGNED DRESSES .

A NUMBER OF THE RANDASA MODELS BEGAN PROTESTING IN FRONT OF A STORE CALLED THE PARISIAN STORE.

IT WAS BROUGHT UP TO HARLEM BY TWO WHITE MEN AND THE THINGS BEING SOLD WERE PARISIAN WIGS THAT WOULD LOOK ON GREAT ON WHITE WOMEN.

A NUMBER OF OF THE RANDASA MODELS THOUGHT THAT'S NOT WHO WE ARE SO THEY BEGAN TO WHERE THERE HAIR NATURALLY.

KWAME RECOGNIZED ALL THE SPIRIT GIVES IS A TIME FOR SELF- EXPRESSION AND TO THE TWO OF THEM, SELF-EXPRESSION MEANT FORMING JAZZ.

FORMING THE GRANDASA MODELS AS A WAY TO GIVE THE WOMEN A TOOL IN WHICH TO PUT THEMSELVES FORWARD IN TERMS OF THINKING THAT BLACK IS BEAUTIFUL.

THAT'S CARRIED ON NOW.

THAT BEGAN IN THE 60s AND WE STILL SEE IT HERE TODAY.

THESE THREE BEAUTIFUL HUGE PHOTOGRAPHS BEHIND ME.

I WAS TOLD THE STORY BY KWAME JUNIOR THAT HIS FATHER ALWAYS WANTED TO SEE THOSE PHOTOGRAPHS LARGE.

AND HE DID HAVE THE TECHNOLOGY OF THAT POINT TO DO THAT.

BUT NOW, KWAME JUNIOR HAS BEEN ABLE TO DO THAT AND BLOW THEM UP WHICH REALLY HITS US ALL, THE MINUTE WE SEE THAT.

KWAME WALKED INTO A BAR AT ONE POINT AND HE SAW SOMEBODY TAKING PHOTOGRAPHS IN THE DARK.

HE QUESTION, HOW DO YOU DO THAT?

I WANT TO DO THAT.

SO HE WENT TO THIS BUT HE BEGAN TO TURN TO COLOR FILM BECAUSE WITH THE BLACK AND WHITE FILM, IT WAS VERY HARD TO CALIBRATE THE DIFFERENT HUES OF BLACK SKIN.

BRATHWAITE IS ELEGANCE.

YOU LOOK AT THE K IN THE BLACKEST BOOTABLE POSTER AND THERE'S KWAME BRATHWAITE'S WIFE AND DAUGHTER.

I'VE ALWAYS SAID THAT PHOTOGRAPHY IS TWO THINGS.

PHOTOGRAPHY CAN BE BEAUTIFUL, BUT PHOTOGRAPHY IS TO DOCUMENT.

KWAME DOCUMENTED A VERY IMPORTANT PERIOD OF HISTORY, OF JAZZ, WOMEN'S CLOTHING, HAIR.

EVERYTHING THAT HAD TO DO WITH LACK EXPRESSION.

THESE ARE GOING TO LIVE ON AS VERY IMPORTANT DOCUMENTS AND ALSO VERY WONDERFUL PHOTOGRAPHS.

>> NEXT, WE'LL TAKE A TRIP TO THE BROOKLYN MUSEUM TO VISIT ITS ARTS OF JAPAN GALLERIES.

THE OBJECTS ON VIEW TRACE MORE THAN 2000 YEARS OF INNOVATION IN JAPANESE ART, INCLUDING BUDDHIST TEMPLE SCULPTURES, PAINTINGS, TEXTILES AND WOODBLOCK PRINTS.

ALSO ON VIEW ARE CERAMICS THAT REVEAL JAPAN'S 10,000 YEAR HISTORY OF CRAFTSMANSHIP IN THIS MEDIUM.

HERE'S A LOOK AT SOME OF THE HIGHLIGHTS OF THIS EXHIBITION.

>> WE HAVE ENCLOSED FOR ABOUT SIX YEARS AND WE ARE SO EXCITED TO FINALLY BRING OUT THESE GALLERIES WITH ALL OF OUR BEAUTIFUL TREASURES AND TO TELL A NEW AND INTERESTING STORY THAT WE HAVE NEVER TOLD WITH THE COLLECTION BEFORE.

THE BROOKLYN MUSEUM IS QUITE UNUSUAL IN ITS LARGE HOLDINGS OF MATERIAL FROM THE I NEW CULTURE OF NORTHERN JAPAN.

WE ARE VERY FORTUNATE TO HAVE ROUGHLY 1000 ARTIFACTS IN THE COLLECTION FROM THE INU PEOPLE AND THAT RANGES FROM CARVED WOOD OBJECTS TO PERSONAL ORNAMENTS, TWO COSTUMES FOR WHAT THEY ACTUALLY WORE, USUALLY IN A CEREMONIAL SETTING.

AND WE HAVE A NUMBER OF ROBES FROM THE INU PEOPLE THAT WERE PROBABLY SPECIAL OCCASION ATTIRE.

MOST OF THE ROWS MADE BY THE INU COSTUME ACRES WERE MADE OF AN INDIGENOUS FABRIC CALLED TRISH WHICH IS MADE OF BARK CLOTH.

AND HAS A TEXTURE KIND OF LIKE BURLAP.

THE ROAD THAT WE ARE SHOWING RIGHT NOW IS UNUSUAL BECAUSE IT'S MADE ENTIRELY OF COTTON.

AND COTTON WAS SOMETHING THAT THEY HAD TO TRADE FOR BECAUSE THEY COULDN'T GROW COTTON UP IN THE NORTHERN CLIMES OF HOKKAIDO EYELID.

SO COTTON IS A TRADE GOOD WOULD HAVE BEEN A LUXURY ITEM.

THE ROBES THAT WERE MADE ENTIRELY OF COTTON WERE VERY MUCH STATUS OBJECTS.

THIS WONDERFUL OVERSIZED GREEN HEAD OF A BUDDHIST GUARDIAN FIGURE DATES FROM THE 1200S.

FROM THE COMMON CORE.

WHICH IS A MOMENT WHEN SCULPTURE IN JAPAN BECAME MUCH LIVELIER.

MUCH MORE EXPRESSIVE.

THE HEAD IS MUCH LARGER THAN LIFE-SIZE AND WOULD HAVE STOOD ATOP A FIGURE ABOUT 12 FEET HIGH.

IT WOULD HAVE BEEN ONE OF FOUR FIGURES MARKING THE FOUR CORNERS OF A PLATFORM AROUND AN EVEN LARGER SEATED BUDDHA AT THE CENTER.

AND THEY WOULD HAVE BEEN REALLY DRAMATIC FIGURES IN THE DARK, SORT OF DIM LIGHT OF THE TEMPLE.

YOU WOULD HAVE LOOKED WAY OF FOR THE CEILING AND SEEN THE FIGURES' GLINTING EYES AND WHITE TEETH AND THEY WOULD'VE BEEN QUITE INTIMIDATING AND QUITE DRAMATIC.

THE EYES ARE IN FACT MADE OUT OF ROCK CRYSTAL THAT'S BEEN PAINTED ON THE REVERSE.

THEN INSERTED INTO THE WOODHEAD.

SO A FIERCE FIGURE LIKE THIS TO A WESTERN AUDIENCE OFTEN CAN BE MISTAKEN FOR A DEMONIC OR EVIL PRESENCE.

BUT IN FACT, IN THIS BUDDHIST TRADITION, THESE WERE GOOD GUYS.

THEY ARE FIERCE, BUT THEY ARE ON OUR SIDE.

THEY ARE FIGHTING FOR THE RIGHT THINGS.

ONE OF THE GREAT HIGHLIGHTS IN THE NEW GALLERY IS A PAIR OF FOLDING SCREENS THAT DATE FROM ABOUT 1610.

THESE WERE MADE FOR THE INTERIOR OF A CASTLE AND THEY HAVE LARGELY GOLD BACKGROUNDS WHICH WOULD HAVE HELPED TO REFLECT LIGHT IN THE DARK INTERIOR OF THE CASTLE AND MADE THE ROOM SORT OF MORE WARM AND GLOWING.

THE THEME OF THESE TWO FOLDING SCREENS IS DRYING FISHNETS WHICH IS NOT SOMETHING THAT WE, IN THE MODERN WORLD, SEE A LOT OF.

BUT BACK IN THE DAYS WHEN FISHNETS WERE MADE OF NATURAL MATERIALS, THERE WAS CONCERN THAT THEY WOULD GET MOLDY AND, OF COURSE, IF YOU ARE A FISHERMAN, YOU NEED TO THROW THEM.

SO YOU NEED YOUR FISHING NET TO BE LIGHTER.

NOT SO WET.

SO IT WAS A COMMON SIGHT IN FISHING VILLAGES THROUGHOUT THE WORLD TO SEE NETS HANGING OUT TO DRY.

AND THAT WAS CONSIDERED EXTREMELY SCENIC, PICTURESQUE, BY ARTISTS AND POETS IN EAST ASIA.

SO THEY BECAME A FAMOUS KIND OF ROMANTIC TROPE THAT YOU SEE OVER AND OVER AGAIN IN EAST ASIAN ART.

THE FISHING NETS ARE, ON THE SERVICE, THE SUBJECT MATTER OF THE SCREEN, BUT AS YOU LOOK CAREFULLY AT THE SCREEN, WE SEE THAT IT ALSO REPRESENTS THE FOUR SEASONS.

SO WE WILL READ IT FROM RIGHT TO LEFT WHICH IS HOW JAPANESE IS READ.

SO IF YOU START OF THE FAR RIGHT AND YOU SEE THAT THERE ARE GRASSES GROWING AROUND THE FISHING NETS, AND THEY ARE RELATIVELY SHORT, THEN, AS YOU MOVE TO THE LEFT, YOU HAVE TALLER GRASSES.

SO YOU'RE GONE FROM SPRING TO SUMMER.

THE NEXT SCREEN, THE GRASSES ARE A LITTLE BIT BROWN AROUND THE EDGES AND HAVE GONE TO SEED.

THAT'S FALL.

AND THEN IN THE FAR LEFT, WE HAVE GRASSES THAT ARE COMPLETELY DESICCATED AND DUSTED WITH A LIGHT DUSTING OF SNOW, AND THAT'S WINTER.

THE BROOKLYN MUSEUM HOUSES A WONDERFUL COLLECTION OF JAPANESE PRINTS.

MANY OF WHICH HAVE NOT BEEN OUT ON VIEW IN DECADES.

NOW, THIS IS FROM THE SAME SERIES AS THE GREAT WAVE.

THE IMAGE BY THE GREAT JAPANESE PRINT DESIGNER BEAUCOUP SAN.

IT'S A SERIES THAT FOCUSES ON MOUNT FUJI.

THE MOUNTAIN IS SO LARGE THAT YOU CAN HAVE A SUNNY, BLUE SKIES ON ONE SIDE OF THE MOUNTAIN AND THUNDERSTORMS ON THE OTHER SIDE.

THAT IS IN FACT WHAT WE ARE SEEING HERE.

LIGHTNING AND DARK CLOUDS ON THE FRONT, WHILE THERE ARE BLUE SKIES OFF IN THE DISTANCE.

THE BROOKLYN MUSEUM'S ARTS OF JAPAN GALLERIES IS A SPACE THAT WE WILL BE CHANGING MANY TIMES OVER THE COURSE OF THE NEXT SEVERAL YEARS, IN ORDER TO SHOW MORE AND MORE OF OUR TREASURES, AND WE ENCOURAGE PEOPLE TO COME AND MAKE DISCOVERIES OF THEIR OWN.

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>> THE 1960s WERE A PERIOD OF EPIC CHANGING EVENTS IN ALL ASPECTS OF LIFE.

NOW ON VIEW AT THE JEWISH MUSEUM IS THE EXHIBITION, NEW YORK 1962 TO 1964.

IT EXAMINES HOW IN THESE PIVOTAL THREE YEARS, ARTISTS LIVING AND WORKING IN NEW YORK CITY RESPONDED TO THE CHANGING WORLD AROUND THEM.

THIS PERIOD SAW THE CUBAN MISSILE CRISIS, THE MARCH ON WASHINGTON FOR JOBS AND FREEDOM, AND THE ASSASSINATION OF PRESIDENT JOHN F. KENNEDY.

ALL OCCURRED AT RAPID SPEED AND ALTERED THE SOCIAL AND POLITICAL LANDSCAPE OF NEW YORK CITY AND THE NATION.

AND EXPANDING MEDIA NETWORK INTRODUCE NEW VOICES INTO URGENT CONVERSATIONS ABOUT RACE, CLASS AND GENDER.

THE EXHIBITION ALSO REVEALS JUST HOW CENTRAL THE JEWISH MUSEUM WAS TO THE ART AT THIS TIME.

ALAN SOLOMON, THE MUSEUM'S DIRECTOR ORGANIZED AMBITIOUS EXHIBITIONS DEDICATED TO WHAT HE CALLED THE NEW ART.

IN ADDITION TO SURVEYS OF CUTTING-EDGE PAINTING AND SCULPTURE, HE ALSO ORGANIZED THE FIRST EVER MUSEUM RETROSPECTIVES OF BOTH ROBERT RAUSCHENBERG AND JASPER JOHNS.

MORE THAN 180 WORKS OF ART WERE ON VIEW, INCLUDING PAINTING, SCULPTURE, PHOTOGRAPHY AND FILM.

THEY ARE SHOWN ALONGSIDE INNOVATIONS IN THE FIELDS OF FASHION, DESIGN AND DANCE.

AMERICAN ARTISTS ALSO SHOWED RENEWED INTEREST IN THE DEPTH AND INTENSITY OF EVERYDAY LIFE.

THE EXHIBITION EXPLORES NOT ONLY THE GALLERIES AND MUSEUMS WHERE THE WORK WAS SHOWN, BUT ALSO THE LIVING ROOMS, KITCHENS AND STOREFRONTS WHERE AMERICANS WENT ABOUT THEIR LIVES.

WHEN ALAN SOLOMON WAS ASKED TO ORGANIZE THE UNITED STATES PAVILION AT THE 1964 VENICE GALLERY.

HE TOOK THE WORK FROM JOHN CHAMBERLAIN, KENNETH NOLAN, FRANK STELLA AND THEIR PEERS.

THESE ARTISTS STILL ARE WHAT HE DESCRIBED AS A NEW SENSE OF BEAUTY FROM THE DISORDER OF THE METROPOLITAN SCENE.

THE EXHIBITION IS ON VIEW THROUGH JANUARY 8th.

BE BACK NEXT WEEK ON NYC ARTS, A VISIT TO THE AMERICAN MUSEUM OF NATURAL HISTORY AND ITS REVITALIZED NORTHWEST COAST PART.

IT'S THE LARGEST SURVIVING CANOE OF ITS SIZE THAT WE KNOW OF IN THE WORLD.

IT SHOWS THE COMING TOGETHER OF THOSE PEOPLES WHO WERE IN THE DISTANT PAST AND DID NOT HAVE A FRIENDLY RELATIONSHIP WITH EACH OTHER.

IN RECENT YEARS, THEY HAVE RENEWED THAT RECONCILIATION.

>> A PROFILE OF ARTIST JEFFREY GIBSON, WHOSE BEADWORK, CERAMIC, SCULPTURE AND PAINTINGS ARE INFLUENCED BY CHEROKEE AND CHAKRA TRADITION.

WE MET WHEN YOU ARE A FOREIGNER, YOU DON'T ENTIRELY UNDERSTAND WHAT YOU'RE LOOKING AT OR HEARING ALL THE TIME.

SO YOU HAVE THIS KIND OF SUBJECTIVE COMPREHENSION OF THE WORLD AROUND YOU THAT IS AN ESTIMATED GUESS.

>> AND A RIDE ALONG WITH LOUIS MILLER AND HIS CREW ON ONE OF THEIR EARLY MORNING FLASHES.

>> THEY ARE FOR THE PEOPLE AND I WANT PEOPLE TO TAKE THEM AND INTERACT WITH THEM.

OBVIOUSLY TAKE A PICTURE, BUT TAKE A BLOSSOM.

TAKES HIM HOME.

THE MORE WE CAN HAVE THESE KIND OF SOFT MOMENTS OF JUST BEAUTY, ENJOY FOR NO OTHER REASON, EVEN IF IT'S FOR AN HOUR OR 10 MINUTES, IT'S JOB IS DONE.

>> I HOPE YOU ENJOYED OUR PROGRAM TODAY.

THANK YOU SO MUCH FOR JOINING US.

I'M PAUL IS ON ON LOCATION AT THE MUSEUM OF THE CITY OF NEW YORK.

GOOD NIGHT.

TO ENJOY MORE OF YOUR FAVORITE SEGMENTS.