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Dando de comer a una mesa [Nourrir une table], 1959, a painting by Leonora Carrington, whose work is on view through July 19 at Musée du Luxembourg, in Paris © 2026 Estate of Leonora Carrington/ADAGP, Paris
Waiting, a painting by Celeste Rapone, whose work is on view through June 20 at Esther Schipper, in Berlin. Courtesy the artist and Esther Schipper, Berlin/Paris/Seoul
A cover from Rasht, Iran (with a pieced floral pattern and chain stitch details embroidered in silk), from the book The Atlas of World Embroidery: A Global Exploration of Heritage and Styles, by Gillian Vogelsang-Eastwood, which was published in February by Princeton University Press. Courtesy the Philadelphia Museum of Art (Purchased with Museum funds, 1876)
“Untitled, (Wahweap marina), Lake Powell, Page, Arizona” (2023) a photograph by Victoria Sambunaris, whose work is on view through July 2 at Yancey Richardson, in New York City © The artist. Courtesy Yancey Richardson, New York City
“Riverside Lounge, Shaw, 1986,” a photograph by Birney Imes, whose work is included in the exhibition Juke Joint, which is on view through June 20 at March Gallery, in New York City © The artist. Courtesy March Gallery, New York City
Dando de comer a una mesa [Nourrir une table], 1959, a painting by Leonora Carrington, whose work is on view through July 19 at Musée du Luxembourg, in Paris © 2026 Estate of Leonora Carrington/ADAGP, Paris
Waiting, a painting by Celeste Rapone, whose work is on view through June 20 at Esther Schipper, in Berlin. Courtesy the artist and Esther Schipper, Berlin/Paris/Seoul
A cover from Rasht, Iran (with a pieced floral pattern and chain stitch details embroidered in silk), from the book The Atlas of World Embroidery: A Global Exploration of Heritage and Styles, by Gillian Vogelsang-Eastwood, which was published in February by Princeton University Press. Courtesy the Philadelphia Museum of Art (Purchased with Museum funds, 1876)
“Untitled, (Wahweap marina), Lake Powell, Page, Arizona” (2023) a photograph by Victoria Sambunaris, whose work is on view through July 2 at Yancey Richardson, in New York City © The artist. Courtesy Yancey Richardson, New York City
“Riverside Lounge, Shaw, 1986,” a photograph by Birney Imes, whose work is included in the exhibition Juke Joint, which is on view through June 20 at March Gallery, in New York City © The artist. Courtesy March Gallery, New York City
Dando de comer a una mesa [Nourrir une table], 1959, a painting by Leonora Carrington, whose work is on view through July 19 at Musée du Luxembourg, in Paris © 2026 Estate of Leonora Carrington/ADAGP, Paris
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The New York Knicks and the San Antonio Spurs are in the 2026 NBA Finals; in 1970, the year the Knicks were first coronated champions of the NBA, with a team coached by the New Yorker Red Holzman and captained by the Southerner Willis Reed, the journalist Pete Axthelm wrote in Harper’s Magazine, “basketball belongs to the cities—and New York, from its asphalt playgrounds to the huge modern arena that houses the professional basketball champions of the world, is the most active, dedicated basketball city of all.” This edition of the From the Archive Newsletter includes: Axthelm’s report on basketball as a city game; Darcy Frey’s National Magazine Award–winning essay on the sport as a pathway for social mobility at a Brooklyn high school; Charles Bock’s review of two books that interrogate total investment in basketball, from avid fans and young hopefuls; and a story from Jenn Alandy Trahan about a girls’ high school basketball team. To read these articles and gain access to our fully digitized archive, subscribe to Harper’s Magazine today.
A photograph of children playing basketball at Carnegie Playground on the corner of Fifth Avenue and 91st Street, 1911. Courtesy Wikimedia Commons Read MoreTimeless stories from our 175-year archive handpicked to speak to the news of the day.