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Discusses how the publication, '20 Years of Style: The World According to Paper' details fashion trends and cultural fads throughout history. Reference to the commodification of street art in New York City; Differences between art exhibits in the Lower East Side and Upper East Side; How an exhibit on the East Village will be on display at the New Museum of Contemporary Art.

This section features a calfskin crocodile-print travel wallet with engraved clasp and suede lining. This organizer for the upwardly mobile is available from Smythson of Bond Street in New York City.

Presents the cover story on the sex-trafficking trade which begins in Eastern Europe and finds its way through Mexico to the U.S..Example of an ordinary house in Plainfield New Jersey which was raided by police; Finding of four female Mexican nationals without papers who were sex slaves not prostitutes; Difference between the two; Belief the house is just one of dozens of stash house and apartments in the New York metropolitan area which mirror hundreds more in other major cities; Renting of the girls for sex; Occasional sale of the girls to other traffickers; First U.S. law, the Trafficking Victims Protection Act of 2000; Belief that nearly 20,000 people are trafficked annually into the U.S.; How the girls are abducted; How they are broken in for the sexual slavery; How they get across the borders; Imprisonment and submission tactics; What happens to them when they are of no use to the traffickers.

Focuses on wallpaper displayed in an exhibition called 'Rooms With a View: Landscape and Wallpaper,' at the Cooper-Hewitt National Design Museum of the Smithsonian Institution in 2001. History of wallpaper and its uses in interior design; Photo essay by Kelly Ryerson.

Reports on the interior decoration at the Italian restaurant 'Gino' in New York City. History of the restaurant; Comments by well-known patrons; Use of zebra-embossed wallpaper; Color scheme; Lack of pretense; Success and longevity of the restaurant.

The article offers the author's insights on street photography of New York. Topics discussed include the New York street photography by photographer Lee Friedlander, photography of visual environment, and photographs of New Yorkers talking to the cellphone in the street of the city. It also mentioned the use of black-and-white films.

Dominic Randolph can seem a little out of place at Riverdale Country School -- which is odd, because he's the headmaster. Riverdale is one of New York City's most prestigious private schools, with a 104-year-old campus that looks down grandly on Van Cortlandt Park from the top of a steep hill in the richest part of the Bronx. On the discussion boards of UrbanBaby.com, worked-up moms from the Upper East Side argue over whether Riverdale sends enough seniors to Harvard, Yale and Princeton to be considered truly ''TT'' (top-tier, in UrbanBabyese), or whether it is more accurately labeled ''2T'' (second-tier), but it is, certainly, part of the city's private-school elite, a place members of the establishment send their kids to learn to be members of the establishment. Tuition starts at $38,500 a year, and that's for prekindergarten. Randolph, by contrast, comes across as an iconoclast, a disrupter, even a bit of an eccentric. He dresses for work every day in a black suit with a narrow tie, and the outfit, plus his cool demeanor and sweep of graying hair, makes you wonder, when you first meet him, if he might have played sax in a ska band in the '80s. (The English accent helps.) He is a big thinker, always chasing new ideas, and a conversation with him can feel like a one-man TED conference, dotted with references to the latest work by behavioral psychologists and management gurus and design theorists. When he became headmaster in 2007, he swapped offices with his secretary, giving her the reclusive inner sanctum where previous headmasters sat and remodeling the small outer reception area into his own open-concept work space, its walls covered with whiteboard paint on which he sketches ideas and slogans. One day when I visited, one wall was bare except for a white sheet of paper. On it was printed a single black question mark. [ABSTRACT FROM PUBLISHER]

Podcast Scheduled to appear this week are Ron Suskind on Tracy Kidder's ''Strength in What Remains''; Elsa Dixler on ''The Sixties,'' by Jenny Diski; Motoko Rich with notes from the field; and Jennifer Schuessler with best-seller news. Sam Tanenhaus, the editor of the Book Review, is the host. The podcast is also broadcast in New York as ''Inside The New York Times Book Review'' on Fridays at 6:05 p.m. on WQXR 96.3 FM. Paper Cuts The Book Review's blog covers books and other forms of printed matter. [ABSTRACT FROM PUBLISHER]

The boxy, contemporary architecture of Barry Bergdoll and William Ryall's Long Island house is no surprise. Bergdoll, after all, is the chief curator of architecture and design at the Museum of Modern Art and freely admits to being ''an old-fashioned cliche modernist.'' Still, even modernists need light. The two men (Ryall, a New York architect, designed the house) had searched in vain for the perfect light fixture for the kitchen, a double-height room that is the focal point of the house. And the focus of the focus had to be special. Then they saw the Zettel'z Hanging Lamp by Ingo Maurer. On sale. Bergdoll was familiar with it -- it's in MoMA's collection -- and thought it might work. A sprightly nimbus of wires with small clips clasping little paper notes, it could stand for the kind of jotted informality of kitchen communiques (messages, lists, recipes) and not be confused with ''decoration.'' At first, they used the notes that came with the chandelier. ''We were unbelievably respectful of it,'' Bergdoll said. The seaside humidity, however, was not. ''It all went limp,'' he recalled. So he and Ryall began to experiment. A playing card would be too much, like a too-heavy Christmas ornament on a frail tree branch. But gradually the replacements grew. A neighbor would leave a cryptic note. The house painter left an Iraqi bank note. Ryall and Bergdoll cut out headlines and photos from the newspaper. Notes and scraps (from neighbors and friends) would mysteriously appear and vanish. ''It's never stopped evolving,'' Bergdoll said. Indeed, the light has become a scrapbook, a Christmas tree, a refrigerator door -- yet not really any of these. ''It serves many purposes,'' he explained. ''But at the same time, it's an absolutely outrageous caprice.'' DAVID COLMAN [ABSTRACT FROM PUBLISHER]

What a welcome surprise, especially in this trying economic climate, to covet something that is actually affordable! Such were my thoughts one blistering summer morning when I discovered that the much-anticipated Muji store had finally opened on the ground floor of The New York Times Building. The locale, like all other Muji outposts, has the confidence to be a little boring: there are no intrusive signs, overwhelming salespeople or dazzling window displays. Instead, just tables and shelves of plainly displayed -- yet plainly desirable -- stuff. There is something comforting about a small store that sells a bit of everything, especially if it's the right everything. Did you say you spilled coffee on your shirt right before a big meeting? Pop in and grab a nice new one for less than 60 bucks. Is the chaos on your desk draining your will to live? Simplify with a recycled paper notepad and a couple of brightly colored gel ink pens. Exhausted after a particularly brutal day? Stock up on memory foam pillows on the way home, and throw in a washable feather duvet -- or, for that matter, a new bed. While you're at it, add some bookcases, functional storage bins and a pair of cool little cardboard speakers. [ABSTRACT FROM PUBLISHER]

Focuses on New York City's Neue Galerie, which is bringing the high design of Wiener Werkstätte to shoppers with Neue Galerie Haus, a line of historically accurate objects. Examples of objects that will be sold at the museum's design shop, including wallpaper and textiles; Perception of the endeavor as a marriage of curators and commerce.

Mentions several items for sale in New York City including: cut-paper designs, pottery, and furniture.

Discusses people who have a passion for vintage fashion magazines. Patrons of Gallagher Paper Collectibles in New York City; Friend of the author who is obsessed with such magazines.

Focuses on Cecily Brown's memories of her first year living in New York. Mention of trips to Rite-Aid pharmacy; Purchase of art supplies at Central Art Supply, Cheap Paint and Pearl Paint; Opinion that New York is a fairy-tale island of food and art supplies.