Danny Meyer's Untitled: Brooklyn Cuisine Meets Diner Food

A visit to the latest restaurant from New York's best-loved restaurateur, located in the Whitney Museum of American Art

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After the long, long, flattering New York Times Magazine's profile of our Danny Meyer, which sets several scenes at the creation of his new Untitled restaurant in the lower level of the Whitney Museum, I thought I had to go see Untitled. Actually, I'd been planning to go anyway, as I spent the weekend in New York, and aside from wanting to see what Meyer did I've always liked museum restaurants. How could anyone not who grew up reading From the Mixed-Up Files of Mrs. Basil E. Frankweiler, in which a sister and brother sleep in the museum and bathe in the fountain in the restaurant, which supplies pocket change, too? It's not just the necessary respite museum restaurants offer from close concentration and (often feigned) reverence. It's the slightly illicit bonus of eating in a place you're not even supposed to touch anything and guards are watching you every minute.

Meyer made the restaurant at the renovated Museum of Modern Art, the Modern, one of the best places to eat in Midtown and also a place for a reliable power lunch. He was a shrewd choice of the directors, who knew he could anchor the restaurant exactly in the power structure that runs the city, as they themselves do.

The Whitney has always straddled a slightly odd balance: it shows art that should poke a sharp stick in the eye of the rich, smack in the middle of the staid-est, stodgiest silk-stocking district of the city. The last occupant of the Whitney was Sarabeth's Kitchen--a perfectly good choice for the Upper East Side neighborhood where the bakery/tearoom established its reputation, but not very ambitious. As he did at the Modern, Meyer has shrewdly looked to who lives and works nearby--the customers who can really keep the restaurant going--more than at the art. And he looked at the somber, dark-gray, modernist lines of the celebrated, stark 1966 Marcel Breuer building.

And so Meyer has chosen two things: a smooth, soothing, gray and brown palette with comfortable booths, and tables that can accommodate both power breakfasts and casual snack-seeking museum-goers, and food in the style of diner/luncheonette--which real East Siders know have always been the real places for power breakfasts and lunches in their neighborhood. Eggs, bagels and lox, BLTs, tuna melts, grilled cheese, pastrami reubens--these are extremely familiar territory for the supposedly fancy people who have always enjoyed economizing, and these days have an excuse to. And, of course, there are burgers. How could there not, given the huge success of Meyer's Shake Shacks?

(Side note: I went into the Upper West Side Shake Shack last night at about 10:00, scene of another Times Magazine Meyer visit, and didn't smell the aroma Meyer tells the author to sniff for as soon as he gets near a Shack--the Shacklike aura. Didn't smell anything, in fact. I took this as a sign of cleanliness and efficient ventilation, and the place was packed--including the "scrum," the small basement rec-room style seating area where there's a mercifully silent, big flat-screen TV showing, of course, sports. If Meyer wants to ventilate into the street the always-hunger-inducing aroma of new burgers, which I do associate with the original location in Madison Park--I just went this morning, and smelled the summerlike aromas of grilled cheese and ketchup, but not much burger grease--I'm sure he can arrange that too.)

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Corby Kummer's work in The Atlantic has established him as one of the most widely read, authoritative, and creative food writers in the United States. The San Francisco Examiner pronounced him "a dean among food writers in America." More

Corby Kummer's work in The Atlantic has established him as one of the most widely read, authoritative, and creative food writers in the United States. The San Francisco Examiner pronounced him "a dean among food writers in America." Julia Child once said, "I think he's a very good food writer. He really does his homework. As a reporter and a writer he takes his work very seriously." Kummer's 1990 Atlantic series about coffee was heralded by foodies and the general public alike. The response to his recommendations about coffees and coffee-makers was typical--suppliers scrambled to meet the demand. As Giorgio Deluca, co-founder of New York's epicurean grocery Dean & Deluca, says: "I can tell when Corby's pieces hit; the phone doesn't stop ringing." His book, The Joy of Coffee, based on his Atlantic series, was heralded by The New York Times as "the most definitive and engagingly written book on the subject to date." In nominating his work for a National Magazine Award (for which he became a finalist), the editors wrote: "Kummer treats food as if its preparation were something of a life sport: an activity to be pursued regularly and healthfully by knowledgeable people who demand quality." Kummer's book The Pleasures of Slow Food celebrates local artisans who raise and prepare the foods of their regions with the love and expertise that come only with generations of practice. Kummer was restaurant critic of New York Magazine in 1995 and 1996 and since 1997 has served as restaurant critic for Boston Magazine. He is also a frequent food commentator on television and radio. He was educated at Yale, immediately after which he came to The Atlantic. He is the recipient of five James Beard Journalism Awards, including the MFK Fisher Distinguished Writing Award.

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