Former New York Life Insurance Company Building

The Appleton Building occupied the front of a small block which was bounded by Broadway, Leonard Street, and Catharine Alley in New York City. It stood at 346 and 348 Broadway, was four stories tall, and was constructed entirely of brown stone. It was a familiar landmark in a quickly changing Broadway of the mid-19th century. It was one of Broadway's oldest buildings.

The Asian Pacific American Heritage Festival, hosted by the Coalition of Asian Pacific Americans in New York City, is one of the largest outdoors celebrations of Asian Pacific American Heritage Month in the United States. Each year, in May, the festival offers music, performances, arts, food, history and corporate outreach. The first festival in 1979 grew out of the civil rights movements of that era when President Jimmy Carter signed the proclamation to declare the first week in May to be Asian American Heritage Week. The proclamation was later extended to Asian Pacific American Heritage Month for the entire month of May. The festival has continued every year to celebrate the diverse cultures of Asian Americans and their contribution to American society. It has become so large that it takes the Coalition all year to put together.A number of notable Asian American performers have performed at the festival, including Regie Cabico, George Gee with his orchestra, and Terry Watada.

Worth Street was a local station on the IRT Lexington Avenue Line of the New York City Subway. It is located at Lafayette Street and Worth Street, in Civic Center, Manhattan. The Worth Street station was constructed for the Interborough Rapid Transit Company (IRT) as part of the city's first subway line, which was approved in 1900. Construction of the line segment that includes the Worth Street station started on July 10 of the same year. The station opened on October 27, 1904, as one of the original 28 stations of the New York City Subway. The southbound platform was lengthened in the late 1940s. The station was closed on September 1, 1962, as a result of a platform lengthening project at Brooklyn Bridge–City Hall. The Worth Street station contains two abandoned side platforms and four tracks. The station was built with tile and mosaic decorations. Many of these decorations have been covered with graffiti.

Tilted Arc was a controversial public art installation by Richard Serra, displayed in Foley Federal Plaza in Manhattan from 1981 to 1989. The art work consisted of a 120-foot-long, 12-foot-high solid, unfinished plate of rust-covered COR-TEN steel. Advocates characterized it as an important work by a well-known artist that transformed the space and advanced the concept of sculpture, whereas critics focused on its perceived ugliness and saw it as ruining the site. Following an acrimonious public debate, the sculpture was removed in 1989 as the result of a federal lawsuit and has never been publicly displayed since, in accordance with the artist's wishes.

Clocktower Productions is a non-profit art institution working in the visual arts, performance, music, and radio. It was founded in 1972 as The Clocktower Gallery by Alanna Heiss, the Founder and former Director of MoMA PS1 (formerly P.S.1 Contemporary Art Center) under the aegis of the Institute for Art and Urban Resources. From 1972 until 2013, the institution operated out of a City-owned McKim, Mead & White building in Lower Manhattan, the former New York Life Insurance Company Building at 346 Broadway (with a secondary address of 108 Leonard Street) between Catherine Lane and Leonard Street, in Tribeca. In 2013, the City of New York sold the building to a private developer, and the organization relocated its operations through program partnerships with other arts institutions around the city, including Pioneer Works in Red Hook, Knockdown Center in Queens, and Times Square Arts, among others.

Art International Radio was an online, non-profit cultural Internet radio station that was also home to the Clocktower Gallery an historic New York City alternative exhibition space. Art International Radio was directed by Alanna Heiss, the founder and former Director of P.S.1 Contemporary Art Center in Long Island City, Queens. In December 2013, after 40 years of operation from its historic 1894 McKim, Mead & White building in Lower Manhattan, the Clocktower announced its final exhibition and plans for relocation through a year of creative collaborations with partner organizations all over New York City.

The Broadway Theatre (September 27, 1847 – April 2, 1859), called the Old Broadway Theatre since its demise, was at 326–30 Broadway, between Pearl and Anthony (now Worth) Streets in Lower Manhattan, New York City. With over 4000 seats, it was the largest theater ever built in New York when it opened. During its brief existence, many prominent performers of the era appeared on its stage. It presented plays, opera, ballet, hippodrama, and circus performances in a space that was reconfigured several times. The operators always struggled to make money, however, and after twelve years the Broadway Theatre was replaced by a more profitable building, for the textile trade.

Worth Street is a two-way street running roughly northwest-southeast in Manhattan, New York City. It runs from Hudson Street, TriBeCa, in the west to Chatham Square in Chinatown in the east. Past Chatham Square, the roadway continues as Oliver Street, a north-south street running one-way northbound. Between West Broadway and Church Street, Worth Street is also known as Justice John M. Harlan Way in honor of the Supreme Court justice and alumnus of the nearby New York Law School. Between Centre and Baxter Streets, Worth Street is also known as the "Avenue of the Strongest", "New York's Strongest" being a nickname for the city's Department of Sanitation.The western end of Worth Street, between Hudson Street and West Broadway, abuts 60 Hudson Street, the former Western Union headquarters that later was converted into an internet hub. Worth Street passes through the cluster of government offices and courthouses centered on Foley Square. 125 Worth Street (at Centre Street) houses the headquarters of the New York City Health and Hospitals Corporation, the Department of Health and Mental Hygiene, and the Department of Sanitation. Additionally, the New York Supreme Court courthouses at 60 Centre Street and 80 Centre Street (the Louis J. Lefkowitz Building) and the Daniel Patrick Moynihan Federal Courthouse (Southern District of New York) at 500 Pearl Street all have entrances facing Worth Street.

The United States Court of International Trade (case citations: Int'l Trade or Intl. Trade) is a U.S. federal court that adjudicates civil actions arising out of U.S. customs and international trade laws. Seated in New York City, it exercises broad jurisdiction over most trade-related matters, and is permitted to hear and decide cases anywhere in the country, as well as abroad.The court originated with the Customs Administrative Act of 1890, which established the Board of General Appraisers as a quasi-judicial entity of the U.S. Treasury Department tasked with hearing disputes primarily concerning tariffs and import duties. In 1926, Congress replaced the Board with the United States Customs Court, an administrative tribunal with greater judicial functions, which in 1930 was made independent of the Treasury Department. In 1956, the U.S. Customs Court was reconstituted by Congress as an Article III tribunal, giving it the status and privileges of a federal court. The Customs Courts Act of 1980 established the U.S. Court of International Trade in its current form, granting it jurisdiction over all trade matters and conferring its judges with life tenure.The court's subject matter jurisdiction is limited to particular questions in international trade and customs law, though it may also decide any civil action against the U.S. government, its officers, or its agencies arising out of any law connected to international trade. As an Article III tribunal, the U.S. Court of International Trade can decide controversies in both law and equity, and is thus allowed to grant relief in virtually all means available, including money judgments, writs of mandamus, and preliminary or permanent injunctions. Led by a chief judge, the court is composed of nine judges who are appointed by the U.S. President and confirmed by the Senate. No more than five judges can be of the same political party. Cases are typically heard by just one judge, and the court operates on procedures and protocols drawn heavily from the Federal Rules of Civil Procedure.

The Jacob K. Javits Federal Office Building at 26 Federal Plaza on Foley Square in the Civic Center neighborhood of Manhattan, New York City houses many federal government agencies. At over 41 stories, it is the tallest federal building in the United States. It was built in 1963–69 and was designed by Alfred Easton Poor and Kahn & Jacobs, with Eggers & Higgins as associate architects. A western addition, first announced on "inadvertently acquired land" in 1965, was built in 1975–77 and was designed by Kahn & Jacobs, The Eggers Partnership and Poor & Swanke. The building is named for Jacob K. Javits, who served as a United States Senator from New York for 24 years, from 1957 to 1981. The building falls under the jurisdiction of the United States Federal Protective Service for any and all law enforcement and protection issues. To the east of the main building is the James L. Watson Court of International Trade Building.

Postmasters is a contemporary art gallery located in Manhattan's Tribeca neighborhood, owned and directed by Magda Sawon and Tamas Banovich. The Postmasters gallery opened in the East Village in December 1984, moved to SoHo in 1989, and relocated to Chelsea in September 1998. In June 2013 Postmasters moved to 54 Franklin Street in Tribeca, taking over a 4,500-square-foot (420 m2) ground-floor space complete with large functional basement.The gallery has a history of exhibiting work in media that is challenging for a commercial art gallery, including the work of several Net.artists and political activists. For example, Maciej Wisniewski's media-rich e-mail software Netomat was exhibited as an artwork at the gallery in 1999 before being exhibited at the Whitney Museum of Art in 2000. The gallery's decision to exhibit software as an art form engages the Marshall McLuhan-coined concept "The medium is the message" by updating it with Wisnieski's belief that the artist's role is to challenge the existing notion of software development and distribution.' And in May 2010, Chatroulette became both medium and subject for artists Eva & Franco Mattes AKA 0100101110101101.ORG.On September 6, 2001, German-born artist Wolfgang Staehle, installed three live-feed video projections in the gallery, one of which was a panoramic view of Lower Manhattan, which would remain on view for the rest of the month. The feed captured the terrorist attacks of September 11th, transforming a fixed image of the city into what the art critic Roberta Smith of The New York Times called "a live history painting." In 2007, Hong Kong-based artist and Internet activist Kenneth Tin-Kin Hung exhibited a video critical of the George W. Bush Administration entitled "Because Washington Is Hollywood for Ugly People".On occasion, Sawon has allowed artists to direct the public's attention to her own role as an art dealer. In 1992 the gallery hosted an exhibition of work by Silvia Kolbowski that featured posters of the gallery itself. In an event called "Ask the Dealer," during the month-long Hashtag Class series at Winkleman Gallery in 2010, Sawon promised to truthfully answer any question asked of her regarding her experience as a gallerist.

359 Broadway is a building on the west side of Broadway between Leonard and Franklin Streets in the Tribeca neighborhood of Manhattan, New York City. It was built in 1852 and was designed by the firm of Field & Correja in the Italianate style.The top three floors of the building were used by pioneering photographer Mathew Brady as a portrait studio from 1853 to 1859, where he photographed many famous Americans. On the south side of the building a faded painted sign for Mathew Brady's Studio could once be seen by pedestrians on Broadway, but this was painted over before 1990. The building was purchased by brothers Mark Tennenbaum and Emil Tanner and their brother-in-law Leo Beller in 1943. The partners operated a textile wholesale business from which they retired in the early 1970s, and the building was subsequently sold. The building was made a New York City designated landmark in 1990, an action which was confirmed in 1992 after a long battle between the city and its owner. Justice Karla Moskowitz of the New York State Supreme Court decided in April that it was "clear that the building was considered from the first on architectural as well as historical grounds." The New York City Landmarks Preservation Commission had argued for the building's preservation, both because of its famous tenant – Brady – and the fact that each of the building's five floors had received a distinctive window treatment, thus indicating that it was an architecturally significant structure and not merely a utilitarian structure.