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The article focuses on the sale by Keith de Lellis, a dealer in vintage photography, of his apartment in Upper East Side, New York and his move in a new apartment in Central Park New York. It states that de Lellis wanted to live within walking distance of his gallery in Madison Avenue that is why he moved in another apartment. The article adds that the new apartment was sold to him in the summer for $891,000.

NEW ROCHELLE, N.Y. EVERY two years since 1998, the Castle Gallery at the College of New Rochelle has presented the ''Westchester Biennial,'' a juried exhibition showcasing the diversity of innovative work by emerging and established artists based in Westchester County. This year, both diversity and innovation are plentiful. [ABSTRACT FROM AUTHOR]

OF the roughly 75 items on display at the Suffolk County Historical Society in Riverhead, a menacing-looking object known as the Wickham ax has been especially fascinating to many visitors. It is the murder weapon used to kill James and Frances Wickham, 19th-century farmers in Cutchogue, according to Kathryn M. Curran, the society's director. The Wickhams were killed in 1854 by ''a disgruntled farmhand,'' she said. [ABSTRACT FROM AUTHOR]

One of the many pleasures of going to art galleries regularly is that in addition to the formal exhibitions up front, art dealers often display unexpected gems off to the side, in project spaces, offices or even behind the reception desk: lost bits of history and unfamiliar early works by this or that artist. Recently, in the lull before the onslaught of this week's art fairs, one of these isolated treasures provided a useful reminder about close looking. On a visit to the George Adams Gallery in Chelsea, I came across a smallish work that Mr. Adams has put on view in a side gallery: a smooth, darkish painting of a female nude asleep on an empty beach, with the nose of a small sailboat nudging in from the right side. Mr. Adams invited me to guess its maker. [ABSTRACT FROM AUTHOR]

''Museums are like the family sepulchers of works of art,'' wrote Theodor Adorno, the 20th-century German philosopher, who pointed out that ''museum'' and ''mausoleum'' even sound alike. ''Spies in the House of Art: Photography, Film and Video,'' a Metropolitan Museum of Art exhibition of 17 contemporary works inspired by museums, all from the Met's collection, doesn't mention Adorno by name. But it nods toward him in an introductory wall text telling us that although artists generally want to see their work in museums, ''they may joke among themselves with gallows humor that museums are mausoleums, places where art goes to die.'' [ABSTRACT FROM AUTHOR]

PHOENIX -- Some of the American Indian artworks at the Heard Museum date back a century or more, while others are brand-new, brought here along bumpy reservation roads just last month or last year. The sculptures of Retha Walden Gambaro, both traditional and contemporary, fit somewhere in between. Now in her mid-90s, Mrs. Gambaro is nearing the end of a remarkable artistic life that began at an age when other artists have already spent many years honing their craft. At 52, with her children grown, she took up clay, stone and bronze and then worked steadily through middle and old age. [ABSTRACT FROM AUTHOR]

Art Museums and galleries are in Manhattan unless otherwise noted. Full reviews of recent art shows: nytimes.com/art. [ABSTRACT FROM PUBLISHER]

Until the mid-20th century, the world's greatest artworks were cataloged in shoeboxes. Then along came the computer, and for the first time, museums had a more efficient way to organize their holdings than the boxfuls of dog-eared index cards that had served them for generations. But they kept on using the shoeboxes. [ABSTRACT FROM PUBLISHER]