Showing posts with label Philadelphia travel. Show all posts
Showing posts with label Philadelphia travel. Show all posts

Friday, May 15, 2026

Philadelphia Scores Free Transit for 2026 World Cup Fans

Philadelphia is already proving why it’s a world-class host city. While other 2026 FIFA World Cup hubs are making headlines for record-high transit prices, Philadelphia has announced a game-changing partnership to keep the tournament accessible.

Thanks to a new collaboration between SEPTA, Airbnb, and Philadelphia Soccer 2026, fans attending matches at Lincoln Financial Field will enjoy free return rides home.

How the Free Rides Work

Navigating the city after a massive sporting event can be stressful, but this partnership aims to remove that friction. Here are the specifics for the "Free Rides Home" program:
The Route: The offer applies specifically to the Broad Street Line (B Line).

Pick-up Point: Fans must board at NRG Station, the stop directly serving the South Philadelphia Sports Complex.

The Timing: Free service begins at halftime of each match and continues for two hours after the final whistle.

The Cost: While a regular one-way fare to the stadium is $2.90, your trip back to Center City or North Philly will cost exactly $0.

Why This is a Big Deal

To understand why Philly fans are cheering, you have to look at what’s happening in other host cities. While Philadelphia is prioritizing affordability, neighboring hubs have taken a different approach:

Host City-Transit -Cost (Round Trip)-Partnership

Philadelphia $2.90 (Return is Free)SEPTA + Airbnb

New Jersey (MetLife) $150.00 NJ Transit

Boston (Gillette) $80.00 - $95.00M BTA / Private Bus

As SEPTA General Manager Scott Sauer noted, the Broad Street Line is the "best way to get to and from the Sports Complex," and this sponsorship ensures that international visitors and locals alike aren't priced out of the celebration.
Philadelphia's 2026 Match Schedule

Mark your calendars! The free transit service will be active for all six matches hosted at the stadium:

June 14: Côte d'Ivoire vs. Ecuador

June 19: Brazil vs. Haiti

June 22: Group Stage

June 25: Group Stage

June 27: Group Stage

July 4: Round of 16 (Independence Day in the birthplace of America!)

Tips for World Cup Commuters

If you’re planning to head down to the matches, keep these tips in mind to ensure a smooth trip:

Download the SEPTA App: Even though the ride home is free, you’ll still need a SEPTA Key card or the app to pay your $2.90 fare to the stadium.

Look for "Sports Express": SEPTA will be running extra trains every 10 minutes or less during match days to handle the crowds.

Tailgate Like a Local: Unlike New York or Boston, Philly is keeping its tailgating traditions alive for the World Cup. Grab some food, enjoy the atmosphere, and then hop on the subway for your free ride home.

Note: This initiative is part of Governor Josh Shapiro's broader effort to showcase Pennsylvania as the "Great American Getaway" during this historic year of sports.

2026 is shaping up to be a historic year for sports in Philadelphia. Beyond the FIFA World Cup, the city is hosting several other "once-in-a-generation" events to celebrate the nation's 250th anniversary.

Major Events in 2026

MLB All-Star Game & All-Star Week: The "Midsummer Classic" returns to Citizens Bank Park in July 2026. This includes the Home Run Derby and a week of fan festivities across the city.

PGA Championship: One of golf’s four major championships will be held at the Aronimink Golf Club from May 11–17, 2026.

NCAA March Madness: Philadelphia will host early-round games of the NCAA Division I Men's Basketball Championship at Xfinity Mobile Arena in March 2026.

U.S. Amateur Championship: Top amateur golfers will compete at the prestigious Merion Golf Club from August 10–16, 2026.

Philadelphia Cycling Classic: After a decade-long hiatus, this iconic race returns on August 30, 2026, featuring the famous "Wall"

Thursday, May 14, 2026

The Midsummer Classic Returns: MLB All-Star Week 2026 In Philadelphia

For the first time since 1996, the eyes of the baseball world will be fixed on the birthplace of America. As part of the massive Semiquincentennial (250th Anniversary) celebrations, Major League Baseball's All-Star Week is taking over the city in July 2026.

From high-stakes home runs to fan festivals that span the city, here is everything you need to know about the most anticipated baseball event of the decade.

The Main Events at Citizens Bank Park

The heart of the action will be at Citizens Bank Park, which will be celebrating its own milestone as it hosts its first-ever All-Star Game.

The 96th MLB All-Star Game: The centerpiece of the week, where the best of the American League and National League face off for bragging rights.

Home Run Derby: Expect the "Bank" to play small as the league's most powerful sluggers take aim at the Ashburn Alley seats.

All-Star Futures Game: See the stars of tomorrow before they hit the big leagues.

Beyond the Ballpark: All-Star Village

Philadelphia is transforming its historic and modern spaces into a baseball wonderland. All-Star Village (the modern evolution of FanFest) will likely be centered around the Pennsylvania Convention Center and the surrounding blocks, offering:

Interactive Exhibits: Test your pitching speed or try to rob a home run in virtual reality.

Legend Appearances: Meet Phillies icons from the 1980 and 2008 World Series teams for autographs and Q&A sessions.

The All-Star Red Carpet Show: Watch the players parade through the city’s streets in a high-fashion procession before the big game.

Why 2026 is Different

This isn't just another All-Star Game. Because it coincides with the U.S. 250th Anniversary, MLB is working closely with the city to weave baseball into the national celebration.

"Philadelphia is the perfect stage for the 2026 All-Star Game. The intersection of baseball's history and our nation's history will make this an unforgettable experience for fans," — MLB Commissioner's Office.

Visitors can expect unique mashups between the All-Star festivities and historic sites like Independence Hall and the Liberty Bell, which are just a short subway ride away on the Broad Street Line.

Survival Tips for Fans

Book Lodging Now: With the FIFA World Cup matches and the All-Star Game happening in the same summer, hotels are filling up fast. Check the Michelin Guide’s top Philly hotels for the best places to stay.

Use Public Transit: Traffic in South Philly will be intense. Stick to SEPTA—it's the fastest way to get to the Sports Complex.

Explore the Food: While the stadium has great eats, don't miss out on the local All-Star specials at Reading Terminal Market and Philly's world-class food scene.

Monday, May 11, 2026

Philadelphia Museums Revisit How America Was Built On Botany

The Academy of Natural Sciences and the Mütter Museum have exhibitions about the role of plants in nation building.

When Founding Father Thomas Jefferson arrived in Philadelphia to draft the Declaration of Independence, he was not impressed by the city. Jefferson, a Virginian farmer, rented a room far from the urban bustle, on what is now Seventh Street.

“I view great cities as pestilential to the morals, the health and the liberties of man,” Jefferson wrote to Benjamin Rush in 1800. “True, they nourish some of the elegant arts; but the useful ones can thrive elsewhere.”

Jefferson saw North America’s flora and fauna as its greatest asset.

“The greatest service which can be rendered any country is to add a useful plant to its culture,” Jefferson wrote in “Summary of Public Service” in 1800.

As Philadelphia celebrates the country’s 250th birthday, exhibitions at the Academy of Natural Sciences and the Mütter Museum, and an academic symposium at the University of Pennsylvania make the case for Philadelphia’s central role in establishing American botany as a pillar of nation-building.

“Botany of Nations,” at The Academy of Natural Sciences of Drexel University, explores how plants helped shape the nation and explains why Jefferson sent Meriwether Lewis and William Clark on the 1803 Corps of Discovery expedition through the Louisiana Purchase. To build a great nation, Jefferson needed to know what grew here.

“The object of the Corps of Discovery, the aims of it, were complicated,” said curator Marina McDougall. “He asked Lewis and Clark, in meeting with Native Americans, to explore trade. There was diplomatic interest. And, of course, the native nations came to it with their complex trade histories and their own interests.”

Why ‘Botany of Nations’?

The title reflects Lewis and Clark’s exploration of lands occupied by 50 distinct native nations, each with thousands of years of botanical knowledge.

“Many Americans look to the Lewis and Clark Corps of Discovery as a way to think about national identity. Our identities as Americans come from that,” McDougall said. “But it was much more complex than the story of these two heroic figures.”

American natural sciences were largely concerned with identifying and categorizing plant and animal types. Before heading west in 1804, Lewis learned botany in Philadelphia from Benjamin Smith Barton, a member of the College of Physicians of Philadelphia.

Barton argued in 1798 for the creation of an American encyclopedia of medicinal plants, i.e. a pharmacopeia, so the United States would not be solely reliant on European knowledge.

“They brought a pharmacopeia over with them on the Mayflower,” said Meredith Sellers, a curator at the Mütter Museum at the College of Physicians of Philadelphia. “This is like WebMD in the colonial era.”

The Mütter Museum currently has a small exhibition, “Revolutionary Botany,” featuring manuscripts and artifacts tracing the origins of modern medicine to Philadelphia botanists.

“Revolutionary Botany” features figures such as Barton, who consulted with area indigenous people for their knowledge of native plants, John Bartram of Bartram’s Garden and the creation of America’s first pharmacy school, the Philadelphia College of Apothecaries — later the Philadelphia College of Pharmacy, now part of St. Joseph’s University.

The first American pharmacopeia was created in 1820 to establish the validity of American medicine.

“That’s really what the American pharmacopeia reflects,” Sellers said. “It’s a compendium of both the European known curatives and then adding to it these new American plants within a European understanding of what’s new.”

The European understanding of botany collided with an indigenous perspective of plants. Nakia Williamson-Cloud of the Nez Perce nation said naming species and categorizing them into taxonomic groups is antithetical to indigenous practice.

The story of the humble camas root

Williamson-Cloud is one of several ethnobotanists consulted for “Botany of Nations.” He appears in a section about the camas plant, a grass with a thick root bulb that grows in Western North America.

“It was one of the main food staples, probably contributed to almost 50% of our diet,” he said. “It was a root that was very important to our life and our subsistence, but it’s also intertwined within our spirituality.”

The camas, often called “Grandmother” by the Nez Perce, is part of native creation myths: The plant was born from the tears of a grandmother who cried herself to death over her children’s hunger. Camas also appeared in the wake of the coyote figure who battled a great monster to death.

“As travelers on a schedule, [Lewis and Clark] may have missed important elements of the Nez Perce system for producing annual crops of big camas bulbs,” said Sarah Walker, a Forest Service botanist featured in “Botany of Nations. “This was a system planned and carried out by women, whose horticultural skills were not investigated by Lewis and Clark.”

Williamson-Cloud contributed to the exhibition a traditional tú·kes digging stick, a long, thin hardwood branch hardened by fire with a bone crosspiece on top. Women who harvested camas would plunge the stick several inches into the ground and lever up the camas bulb, cleanly uprooting it without damaging surrounding grasses.

“Lewis and Clark probably didn’t realize the degree to which the lands of North America were being gardened,” McDougall said. “Through cultural fire, through the practices of weeding things out as you dug the camus using the digging sticks that don’t disturb things around it, these were cultivated landscapes that were entering into.”

Lewis and Clark observed Nez Perce women picking camas in the wild and likely assumed they were foraging. But the Nez Perce were farmers cultivating plants for harvest. Like many indigenous farming practices, it did not look like European farming with rows of monoculture crops; plants were carefully sown and later gathered without disturbing surrounding plant life.

“We don’t go to discover a place. We go to a place and seek connection with it,” he said. “They are what gives us identity. We don’t give it identity.”

The myth of the American wilderness

The idea that Lewis and Clark entered and discovered untouched wilderness is an American myth, according to Rosalyn LaPier, professor of History at the University of Illinois Urbana-Champaign, who spoke at a recent Penn symposium, Adventive America, about the role of plants in American nationhood.

“We have this longstanding philosophy that this was a place untouched by humans, a place that was a Garden of Eden touched by god and untouched by humans,” she said in her presentation. “We have carried that philosophy forward to this day.”

LaPier, who is a member of the Blackfeet tribe, pointed to the 1964 U.S. Wilderness Act, which codifies in federal law the definition of wilderness as an area “untrammeled by man, where man himself is a visitor who does not remain.”

“The idea of the wilderness is so embedded in U.S. culture, we need to have I-don’t-know-what kind of surgery to pull that apart,” she said.

In 1805, Lewis and Clark encountered the indigenous Salish people of what is now Western Montana. The meeting is the subject of a large painted mural by Charles Russell, “Lewis and Clark Meeting Indians at Ross’ Hole” (1912), that now hangs in the Montana House of Representatives building.

In 2019, the Salish people published their own account of the historic meeting of the Salish and the Lewis and Clark expedition, describing it as “less an innocent Corps of Discovery than a reconnaissance for invasion.”

“They did not understand that what they saw in western Montana in 1805 was not the product of human absence, but more the product of human presence,” the Salish wrote in “The Salish People and the Lewis and Clark Expedition,” “Or more precisely, a particular kind of human presence.”

Updating the historic record

Lewis and Clark shipped 222 plant samples back to Philadelphia, pressed and annotated on paper sheets, which remain at the Academy of Natural Sciences as the Lewis and Clark Herbarium. Several sheets are on view in “Botany of Nations,” alongside updated sheets that include additional information about the plants, provided by indigenous ethnobotanists. When the exhibition wraps up next year, the new sheets will be permanently included in the historic herbarium collection.

“The academy’s been around for 200-plus years. What are researchers going to want in 50, 100, 200 years beyond that?” said Kaitlyn O’Brian, the Academy’s director of development. “They’re going to want the full view of what a plant can tell us. How can we weave indigenous science and indigenous knowledge into our collections so that future researchers and generations can really understand the full history of a plant?”

“Botany of Nations” will be on view at the Academy of Natural Science at Drexel University until February 14, 2027. “Revolutionary Botany” at the Mütter Museum will be on view through 2026. The “Adventive America” symposium at the University of Pennsylvania occurred in March 2026.

https://whyy.org/person/peter-crimmins/

Saturday, May 9, 2026

Philadelphia’s Weitzman Museum Tells The Forgotten Story Of Caribbean Jews Who Supplied The American Revolution

“The First Salute” pulls artifacts from Sint Eustatius to tell the “hidden” story of the colonies’ crucial island allies.

The governor of Sint Eustatius, a tiny Caribbean island about 100 miles east of Puerto Rico, came to Philadelphia to inaugurate a semiquincentennial exhibition that shows how the island played a critical role in the American Revolution.

Gov. Alida Frances said a person can stand at one point on St. Eustatius and see the ocean in every direction.

“We, as a small island, always felt that our story was hidden,” she said. “But we did everything ourselves to keep the story alive. When we tell people of the world that we played this important role in American history, especially in the independence of America, it seems farfetched to most people.”

“The First Salute” at the Weitzman Museum of American Jewish History pulled about 100 objects and manuscripts, many directly from St. Eustatius and its neighboring islands, which tell the story of smuggling, trade, weapons and international networking that was crucial to supply the War of Independence.

St. Eustatius, or Statia as it is known on the island, was and still is a territory of The Netherlands. The first ships of the newly minted U.S. Navy arrived in the island port in 1776 to pick up supplies, including critically needed gunpowder, just a few months after the Declaration of Independence was signed.

The island greeted the incoming navy ships with a 13-cannon salute, representing the 13 colonies. It was the first foreign entity to officially recognize the sovereignty of the United States.

The first artifact seen in “The First Salute” is a thoroughly rusted 18th-century cannon from St. Eustatius. Its provenance is murky, but the cannon may have been one of those fired in the titular salute.

“I don’t know if a cannon from St. Eustatius has ever been exhibited in the United States,” curator Josh Perelman said.

The ‘First Salute’ is a Jewish story

In 1777, St. Eustatius, like many Caribbean islands, had large Jewish populations. Many Jews fleeing European countries, particularly antisemitic oppression in Spain, Portugal and Eastern European countries, migrated to more favorable countries, such as Holland.

Many continued onto Caribbean territories to take advantage of trading opportunities. Positioned along favorable Atlantic trade winds between Europe and Africa and the Americas, the Caribbean islands were essential and lucrative shipping ports.

St. Eustatius became a strategic military position for shipping military support from European allies to the American revolutionary effort, including weapons and gunpowder.

“There have been books written about St. Eustatius and its role in the Revolution,” said Laura Arnold Leibman, professor of American Jewish Studies at Princeton University, who consulted on the Weitzman exhibition.

“Those books, weirdly, have not told much about Jews,” she said, “which we think was a huge missed opportunity.”

In the late 18th century, St. Eustatius had a population of about a tenth of Philadelphia’s, but its Jewish population was larger than that of any North American city. In all of the colonies, there were only two established synagogues — in New York City and Newport, Rhode Island.

“Many people don’t know, but before 1825 the largest Jewish communities in the Americas were all in the Caribbean,” Leibman said. “St. Eustatius, a relatively small island geographically, had about twice the Jewish population of either Philadelphia or New York at the time.”

American Jews were not unanimous in their support of the American Revolution. One of Leibman’s favorite objects in the exhibition is a piece of needlework by a 15-year-old Jewish girl in New York, Rebecca Hendricks, depicting the 10 Commandments. Leibman said Hendrix’s father signed a loyalty oath to King George III, seen right next to the sampler.

“This is a good example of us trying to make sure we are not just saying ‘Rah! Rah! Rah! Patriots!’ all the time,” she said. “Jews, like every other group of people, were on both sides of the conflict.”

The downfall of the Jews on St. Eustatius

Regardless of which side of the War of Independence they aligned on, Jews on St. Eustatius ultimately suffered. Many were financially wiped out by the war.

The British Admiral George Rodney captured the island in 1781 to suffocate American supply lines. There, he discovered the merchants of St. Eustatius were fabulously wealthy. Targeting the Jews in particular, Rodney systematically plundered anything and everything of value on the island for his personal benefit.

“They were robbed blind,” Francis said. “Their ships were intercepted, robbed of all of the cargo that they brought in for trade. Their shops were robbed. They were exiled. Gradually, they started to move away from the island because they felt no longer safe. The whole economy of the islands went downhill.”

Frances said there is no longer a Jewish community on St. Eustatius. Nevertheless, the residents have preserved the island’s Jewish legacy. The walls of the original synagogue, now in ruins, still stand. Artifacts such as Dutch Delft plateware and sundry Judaica objects have been preserved.

“We know that it was there at the time of The First Salute, at the time of the Revolution,” Perelman said. “It’s incredible to have it here in Philadelphia and to give visitors the opportunity to see this remarkable object that is humble but tells such a massive story.”

“The First Salute” will be on view at the Weitzman Museum of American Jewish History through April 2027.

https://whyy.org/person/peter-crimmins/ “The First Salute” includes a Hanukkah oil lamp, believed to be the only 18th-century object of Jewish ritual from St. Eustatius to survive.

Tuesday, May 5, 2026

Rare Declarations On Display At American Philosophical Society Museum In Philadelphia


Inside the American Philosophical Society's Museum, 19 rare copies of the Declaration of Independence from the nation's first 50 years are on public view.

The exhibition traces how the document evolved-from early newspaper printings to a politicized symbol and later a memorialized national treasure.

Alongside the Declarations are about 30 related objects, including a massive 18thcentury map of North America and items connected to Thomas Jefferson.

Founded by Benjamin Franklin in 1743, the APS houses one of the nation's oldest and most extensive scholarly collections.

Curator David Gary hopes the exhibit encourages visitors to read, reflect on, and thoughtfully discuss the Declaration today.

American Philosophical Society |

Museum at Philosophical Hall, 104 S 5th Street, Philadelphia, Pa. 19106

By Wendy Daughenbaugh

Friday, April 17, 2026

Michelin Guide Names Top Philadelphia Hotels For America’s 250th Birthday Travelers

As America celebrates its semiquincentennial in 2026, there’s plenty of reason to visit the city where both the Declaration of Independence and the Constitution were signed and adopted. Beyond the cheesesteaks and the cracked bell, travelers have 33 restaurants and 17 MICHELIN hotels to explore in our Philadelphia selection.

Of those 17 hotels, the four below are Inspectors' top picks. Distinguished with Keys, the hotel equivalent of the Stars for restaurants, the best hotels in Philadelphia are luxe, well-crafted, and have their own stories to tell about this historic city. And located as they are in some of its most appealing neighborhoods, they have no shortage of top restaurants nearby.
A remade row house in the center of the city is the warm and residential Guild House. © Guild House

Guild House

What it’s all about: In the Midtown Village district of Center City, an intimate One-Key expertly crafted from a historic 19th-century home.

The physical home of the Guild House is a crucial part of its story. This 1855 row house was once the headquarters of the New Century Guild group that supported working women by providing education and a space for discourse. Common areas play directly on that history. The former dining room, where guild members once gathered for entertainment and activism, is now the hotel’s lounge, a place where like-minded travelers sip drinks and peruse vintage novels from the surrounding bookshelves, as well as the site of hotel events and guest speakers.

All but one of the 12 elegant, moody guest rooms honors a different guild member, while the exception, the Ruby, is named for a senior member’s ruby brooch. Naturally, a hotel that takes such care of its history retains the home’s original light fixtures and includes much vintage décor alongside plush comforts, modern flourishes and even such touches as original guild documents, like a clipping from its 19th-century newsletter.

Although a manager is on site, the Guild House operates with invisible service, with guests emailed PIN codes before check-in, and a dumbwaiter to help transport luggage to the upper floors. Along with the cozy rooms and communal spaces, this makes for a particularly tailored stay for solo travelers, although any will appreciate the design and story of this unique place, and larger parties may consider the large, multi-bedroom suite refashioned from the guild’s auditorium.
The Four Seasons makes its home in the city's tallest skyscraper. © Four Seasons

Four Seasons Hotel Philadelphia at Comcast Center

What it’s all about: The only hotel in the city with Two Keys, an all-star cast brings the very best in dining, design and city views to a reinvented standard bearer.

When the Four Seasons moved to its new location on the 60th floor of the Comcast Center, it shed its historical landmark status and embraced a reinvention. It is fair to call this Two-Key gem, in a skyscraper in the heart of the Center City business district, its most no-holds-barred luxurious. Among the contributors were one of Britain’s greatest living architects, Norman Foster, the legendary producer of U2 and Talking Heads, Brian Eno, a floral designer, Jeff Leatham, known for a clientele that includes Oprah and the Dalai Lama, and chefs well-known to these pages, among them Jean-Georges and Greg Vernick.

Rooms feature stunning views of the entire city, while some of the best are enjoyed while leaning against the edge of the 57th-floor infinity pool, looking up from a massage table in the spa, or seated at the aforementioned chef’s chic Jean-Georges Philadelphia. Opening soon are the residentially inspired Sky Garden rooms, set on a floor dedicated to art by local artists and sculptors, a nice nod to Philly’s newly opened Calder Gardens art museum.

But even the most standard room at this Four Seasons offers touches of luxury: floral arrangements on tables, room controls embedded in headboards, and bedside tablets for more services.
The Rittenhouse makes its home in one of the city's toniest districts. © The Rittenhouse Hotel

The Rittenhouse Hotel

What it’s all about: Overlooking the lovely Rittenhouse Park, a One-Key hotel for a luxe base with broad appeal in a residential urban neighborhood.

A 10-minute walk south of the Four Seasons, the Rittenhouse Hotel occupies one-third of the floors in this stepped, 33-story high-rise overlooking the leafy Rittenhouse Park. Another excellent upscale option in the Center City for families, business travelers or staycations, some rooms are as large as 2,000 square feet, in particular the one- and two-bedroom, high-ceiling specialty suites along the book-lined third-floor hallway.

But every guest is guaranteed no shortage of amenities, especially with a spa that offers full-service hair and nail appointments and views of the park, a pool, yoga classes and massage treatments. Meanwhile, the French-inspired cuisine at Lacroix features an a la carte menu that can be transformed into a four-course tasting menu with wine pairings for less than $200, while smaller plates and cocktails are served at the Library Bar.

Additional refined events include British-inspired afternoon tea in the Mary Cassatt Tea Room and Garden just off the lobby, and for the first half of 2026, the property will host Chef RJ Smith, who will serve Caribbean-inspired meals every other Sunday at the Ocho Supper Club, which finishes its run at the end of June.
Balcony rooms at the Anna & Bel overlook the courtyard and pool. © Anna & Bel

Anna and Bel

What it’s all about: A warm and carefully designed One-Key hotel for a cool crowd in trendy Fishtown.

If Philadelphia is the city of brotherly love, Anna and Bel is the hotel of sisterly suave. Once a home for widowed women, this 1769 building in the trendy Fishtown neighborhood closed during the pandemic. Foyer, a hospitality and design team, bought the red brick building and opened this charming boutique hotel that embraces its historic setting and acts as a lovely base for exploring Fishtown, complete with its own Italian restaurant and cocktail lounge.

Spaces lean intentionally into the local and feminine, with rooms stocked with books about women, travel and design, while velvet-draped elevators are lined with wallpaper featuring female silhouettes. Rooms continue the artistic touches and funky modernism, and the best have balconies that gaze down on an interior courtyard and pool, but there is always an eye toward preserving and reviving history — many doorways, the grand stairway, and moldings are original.

Find local snacks and beverages, along with CBD gummies and libido patches, behind the French doors hiding each room’s kitchenette. Reading nooks, hand-printed robes, basement saunas and the occasional bowl of mandarin oranges round out a property that matches its neighborhood’s energy.

Monday, April 13, 2026

A Nation Of Artists-Philadelphia Museum of Art: April 12, 2026–July 5, 2027 Pennsylvania Academy Of The Fine Arts: April 12, 2026–September 5, 2027

The Pennsylvania Academy of the Fine Arts (PAFA) and the Philadelphia Museum of Art (PMA) present A Nation of Artists, a landmark exhibition and collaboration with the private Middleton Family Collection, on view from April 2026 to September 2027.

Organized in conjunction with America’s 250th anniversary, A Nation of Artists examines how artistic production in the United States has been shaped by creativity, exchange, expansion, conflict, and innovation. At PAFA, works made from the late 18th century to today will be arranged thematically to explore scenes of westward expansion, the rise of industry, and international exchange. At PMA, which is celebrating its 150th anniversary in 2026, visitors will encounter a chronological display of American art from 1700 to 1960, revealing the global connections that spurred artistic and technological innovation, as well as makers inspired by the natural world, western expansion, and dramatic shifts in economic abundance and disparity.

Installed throughout PAFA’s recently restored Historic Landmark Building and PMA’s newly renovated American art galleries, the exhibition will chart America’s history from 1700 to the present day through more than 1,000 paintings, photographs, sculptures, decorative arts, and more. Across both museums, more than 120 rarely seen works from the Middleton Family Collection—one of the nation’s most significant private holdings of American art—will be on public view for the first time.

Collective highlights from A Nation of Artists will include:

Large-scale portraiture and figurative paintings, from Charles Willson Peale’s self-portrait and portrait of George Washington to Thomas Eakins’s famous Portrait of Dr. Samuel D. Gross (The Gross Clinic).

Lush landscapes and scenes of the natural world by Albert Bierstadt, Frederic Edwin Church, Winslow Homer, Rookwood Pottery, and Georgia O’Keeffe.

Explorations of the Civil War period, including a monumental jar made and inscribed by the enslaved potter Dave, who later took the name David Drake.

Textiles, ceramics, and sculpture by Native American artists from Haida, Hodínöhšö:ni:h (Iroquois Confederacy), Diné, Hopi, and Pueblo nations and contemporary Lenape artist Laura Watters Maynor (Delaware Tribe of Indians, Wolf Clan).

Impressionist paintings by Mary Cassatt, William Merritt Chase, Daniel Garber, and John Singer Sargent, as well as work by modern masters such as Jasper Johns and Andy Warhol.

Contemporary artists such as Njideka Akunyili Crosby, Rina Banerjee, María Berrío, Willie Cole, Clarity Haynes, Gisela McDaniel, Toyin Ojih Odutola, Catherine Opie, Stephanie Syjuco, Mickalene Thomas, and Kara Walker, and many more.

“Our aspiration is that this exhibition is for everyone—no prior knowledge of art or history required,” noted John S. Middleton. “We believe in the power of storytelling to connect people and are thrilled to partner with these two storied institutions to share the works that have brought our family so much joy and inspiration. Like baseball, art has the power to bring people together and surprise us when we least expect it. With every viewing, there’s something new to discover. It’s an honor to help bring American art to life in a new way during this very special 250th commemoration of our country’s founding.”

“This is a transformative moment for PAFA and for Philadelphia,” said Kristen Shepherd, President and CEO of the Pennsylvania Academy of the Fine Arts. “As PAFA celebrates its 220th anniversary as America’s first art museum and school and the reopening of the Historic Landmark Building, we invite audiences into a renewed experience—one that reflects our storied legacy as the nation’s first art school and museum, while offering a powerful setting for a reimagined installation of our collection, enriched by works from the Middleton Family Collection. In collaboration with the Philadelphia Museum of Art, we are proud to present A Nation of Artists in a way that is deeply rooted in PAFA’s history, yet forward-looking in its exploration of what defines American art today.”

“Commemorating the country’s semiquincentennial and PMA’s 150th anniversary, we are honored to collaborate with the esteemed Pennsylvania Academy of the Fine Arts and the rarely seen Middleton Family Collection,” said Daniel Weiss, George D. Widener Director and CEO of the Philadelphia Museum of Art. “A Nation of Artists will span three centuries of art to trace the ever-evolving story of American creativity. This exhibition, a cultural milestone, will bring together voices from around the country through innovative programs, partnerships, and scholarship.”

To learn more about A Nation of Artists, including exhibition details, programming, and visiting information, visit ANationofArtists.org

Saturday, March 28, 2026

'Once Upon A Nation' In Philadelphia Puts Actors In The Spotlight Of History For America 250 And Beyond

Historic Philadelphia, Inc. is the non-profit behind 'Once Upon A Nation' - a program that brings history to life using actors who train at The Benstitute.

Two types of actors appear in public performances throughout the historic district. History makers stay in character of the people they portray, and are dressed in colonial costume. Storytellers dress in contemporary green shirts and khakis, and can be found at storytelling benches in the historic district.

The benches are semicircular and noted by lime green signs that say 'Once Upon A Nation'. The non-profit has been auditioning actors for these roles for 30 years now, but this year their work takes on special significance. You can find out all the events planned for this summer in the current issue of The Historic Philadelphia Gazette, found either online, or in hard copy at the Independence Visitor Center.

By Natalie Jason

Sunday, March 8, 2026

Step Inside History: America's First Hospital Transforms Into A Museum This Spring!

History buffs and medical enthusiasts, get ready for an exciting new destination in Philadelphia! America's first hospital, the venerable Pennsylvania Hospital, is set to open its doors as a brand-new museum this May. Just in time for the nation's 250th-anniversary celebrations, this transformation promises a fascinating journey into the origins of modern medicine in the United States.
Apothecary Shop: The left image shows a historic pharmacy or apothecary, likely from the early 20th century, featuring shelves filled with medicine bottles. Nursing Education: The right image depicts a nursing class, showing students in vintage uniforms receiving instruction, likely from the same era.

Imagine walking the same halls where groundbreaking medical care was administered centuries ago. The historic Pine Building of Pennsylvania Hospital will house eight captivating galleries and exhibits. Visitors will have the unique opportunity to explore the meticulously preserved historic library, offering a glimpse into the medical knowledge of the past. The impressive surgical amphitheater, where students once observed pioneering procedures, will also be a key highlight. And don't miss the newly restored apothecary, showcasing the pharmaceutical practices of early America.

Saturday, March 7, 2026

Exclusive Sky Garden Floor Opens At Four Seasons Philadelphia With Eight Ultra-Luxury Suites

Four Seasons Hotel Philadelphia at Comcast Center announces the official opening of Sky Garden, unveiling a residential-style floor that redefines luxury living in the sky. Designed by award-winning 1508 London, Sky Garden brings together three defining pillars—art, wellness, and epicurean—into a deeply personal, immersive experience available exclusively to guests of this floor.

More than a collection of amenities, Sky Garden was envisioned as a composed environment—where proportion, materiality, light, and landscape work quietly together to shape emotion. This residential-style floor privileges calm over spectacle and intimacy over scale, inviting guests to experience luxury in a way that feels personal and unforced.

Featuring four guest rooms, two one-bedroom suites, a two-bedroom suite and an expansive two-bedroom penthouse, each accommodation is tailored to the discerning traveller and delivered with Four Seasons signature hospitality and intuitive service. The garden-in-the-sky concept draws inspiration from the floor’s Wildflower Green Roof, offering a lush backdrop to city views and enhancing the expansive private terraces featured in select accommodations.

Art: A Curated Collection Above the Clouds

Curated by Hanabi: Art and Artists, a premier art consultancy, and drawing on inspiration from Philadelphia’s design heritage and cultural identity, the Sky Garden art collection was conceived to evoke the feeling of a private home. From eclectic groupings in the foyer to tranquil spa works and bespoke pieces in every guest room, the pieces express a dialogue between past, present, and future—reinforcing Sky Garden’s role as a refined sanctuary in Philadelphia.

Featuring works from both local and internationally sourced artists, the collection draws on themes of geometry, natural materials, and bold line work, blending timeless elegance with unexpected details. Central to the artistic narrative is the influence of Alexander Calder, whose legacy is deeply rooted in Philadelphia. Inspired by Calder’s dynamic exploration of movement, form, and balance, the collection incorporates strong lines, vibrant contrasts, and unexpected forms—creating a modern interpretation of his iconic style within an elevated residential setting.

Wellness: A Sanctuary in the Sky

Nestled on the floor is an exclusive treatment room designed as a private refuge where mind, body, and spirit are nurtured—empowering guests to restore clarity, replenish energy, and elevate vitality in everyday life. The concept, High Vitality, is guided by three curated pillars—Reset, Rest, and Rise—offering restorative journeys that go beyond a traditional spa visit to deliver personalized treatments focused on longevity, resilience, and sustained vitality.

Partnering with leading wellness experts and select brands, High Vitality gives guests access to tools, techniques, and rituals that can be continued long after their stay—offering not just a moment of renewal, but a blueprint for balanced living. Guests may enhance treatments with advanced wellness technologies including a PEMF mat, red light therapy, and an infrared sauna blanket, supporting optimal performance, recovery, and long-term well-being.

To further integrate the wellness experience, the Sky Terrace Penthouse accommodations also feature a private studio, equipped with a Peloton bike, Echelon Reflect Fitness Mirror and a Technogym Home workout bench.

Culinary: An Elevated In-Room Experience

The floor features exclusive culinary experiences that redefine in-room dining. Guests staying in the Sky Terrace Suite and the 4,000-square-foot (375 square metre) Sky Terrace Penthouse will have access to menus curated by Philadelphia’s celebrated chef partner restaurants—Vernick Fish and Jean-Georges. Bespoke touches, such as curated flatware and custom glassware designed by a local glassblower, transform the suite into an intimate stage for exceptional gastronomy, blending world-class artistry with the privacy of a sky-high setting.

Select accommodations also include spacious kitchens and a dedicated butler’s pantry, offering ease and flexibility for those traveling with private chefs, hosting lavish dinner parties, or enjoying extended stays with full kitchen amenities.

An Intimate Expression of Four Seasons Luxury

With its residential sensibility, curated art collection, exclusive wellness concept, and bespoke culinary moments, Sky Garden represents a new expression of luxury at Four Seasons Hotel Philadelphia—one that prioritizes a residential-inspired lifestyle, personalization, and purposeful design.

“The Sky Garden floor commands a new standard of luxury in the region,” says Cornelia Samara, Regional Vice President and General Manager, Four Seasons Hotel Philadelphia at Comcast Center. “Every element was designed to anticipate our guests’ desires—offering personalized touches, elevated comforts, and a sense of home that reflects the warmth and care at the heart of Four Seasons hospitality. The concept of Sky Garden lies not in what is added, but in what is carefully composed, creating an experience that feels deeply residential and effortlessly refined.”

Sky Garden unfolds as a sanctuary above the city—an environment where art, wellness, and culinary excellence converge in harmony, prioritizing calm over spectacle and intimacy over scale.

Be among the first to discover the newest accommodations by calling +1 215 419 5000 or emailing res.philadelphia@fourseasons.com to reserve.

Wednesday, March 4, 2026

Penn Museum Unveils Native North America Gallery: Rooted in Resilience. Resisting Erasure.

The new 2,000 sq. ft. multisensory Native North America Gallery explores the political, religious, linguistic, and artistic self-determination of Native peoples across the United States who are thriving—despite attempts to erase Indigenous identities, cultures, and languages. At its center are interactive stations where visitors can listen to Native languages and try their hand at traditional weaving techniques.
A rendering of the Penn Museum’s Native North America Gallery

Among the 250 cultural items and contemporary Native art pieces on view is an empty display case, prompting repatriation as an essential point of discussion and offering a moment of reflection for guests.

"Updating this gallery has taken two years and is a continuation of the Museum’s long-standing commitment to amplify Native voices, honor their perspectives, and ensure their stories are represented with integrity," explains Dr. Lucy Fowler Williams, Co-Curator of the Native North America Gallery, Associate Curator-in-Charge, and Sabloff Keeper of the North American Section at the Penn Museum.

The new gallery showcases compelling Indigenous-led perspectives from four regions that have especially strong representation in the Penn Museum's collections:

Northeast: Longevity of Lënapehòkink (Delaware/Lenape) Spanning 13,000 years, this section honors the Lenape as the first people in the Delaware Valley and chronicles the creativity and resilience of Lenape communities as they survived forced removal.

Southeast: Persistent Places and Traditions (Eastern Band Cherokee, Muscogee (Creek)) Introducing the long history of Native traditions across the rivers and woodlands of the American South, this section spotlights under-recognized Indigenous technologies in engineering, agriculture, and art.

Southwest: Connecting with a Sacred Landscape (Pueblo) Accentuating the resilience of Pueblo peoples in the arid Southwest, this section outlineshistories of communities who have thrived for centuries in communal settings such asMesa Verde.

Northwest: Stewardship around the Gulf of Alaska (Lingít, Alutiiq) Exploring lifeways in the Gulf of Alaska and the Southeast region, this section exploreshow Alutiiq and Tlingit peoples have upheld traditions anchored in stewardship ofabundant natural resources.

"Consent is everything, and this is a change from how museums have worked in the past. We are now working collaboratively to include the people who are still here and give them a voice in how they are represented—this is paramount," says Jeremy Johnson, Cultural Education Director, Delaware Tribe of Indians and a Consulting Curator for the Native North America Gallery. "It is important for the people trained in the museum side of things to take what we’re saying and make it make sense to a wider audience. This work empowers communities; it gives us back agency over who we are and how we are presented."

In the U.S.'s 250th year, the Native North America Gallery offers nuance and complexity in telling the nation’s story.

"Indigenous representation in museums is a complex part of America’s painful colonial history and relationships continue to evolve," says Dr. Megan C. Kassabaum, Weingarten Associate Curator at the Penn Museum and Co-Curator of the Native North America Gallery. "We are committed to making sure this necessary, collaborative work continues."

The Native North America Gallery is generously supported by a lead gift from Ina and Lewis Heafitz, W’58 and is included with Penn Museum admission.

Please visit: https://www.penn.museum/

Sunday, February 15, 2026

Noah Davis January 24–April 26, 2026 At The Philadelphia Museum Of Art

The Philadelphia Art Museum announces a landmark survey of the late American artist Noah Davis (1983–2015). Bringing together over 60 works, this exhibition will chart Davis’s practice across painting, sculpture, works on paper, and curating, marking the final stop on an international tour organized with DAS MINSK in Potsdam, the Barbican in London, and the Hammer Museum in Los Angeles.

Davis’s work captures the intricacies of Black life with tenderness and depth, linking personal and collective narratives in ways that profoundly resonate with our times. Arranged chronologically, the exhibition will feature work made from 2007 until his untimely death in 2015, addressing a wide range of subjects, including politics, family histories, mythology, race, architecture, and visual culture. His masterfully constructed paintings—which fluidly move between styles and techniques to alternately depict dreamlike, joyful, melancholic, and even surreal scenes—will be shown alongside his experimental sculptures and works on paper that speak to the conceptual foundations of Davis’s practice.

Davis was deeply invested in the idea that art should be accessible to all. In 2012, he and his wife, fellow artist Karon Davis, cofounded the Underground Museum in the historically Black and Latinx neighborhood of Arlington Heights, Los Angeles. They converted four storefronts into a free cultural center, transforming the parking lot into a garden planted with purple flowers. For a period, Davis used the Underground Museum as a studio, as well as a site for residencies, and an exhibition space, eventually entering into a partnership with the Museum of Contemporary Art (MOCA) to lend works from their collection starting in 2014. By the time of his death, Davis had planned 18 exhibitions for the Underground Museum using MOCA’s collection—the majority of which remain unrealized— motivated by the desire to “change the way people view art, the way they buy art, the way they make art.”

Highlights from the exhibition will include 40 Acres and a Unicorn (2007), a striking blend of fantasy and history; Isis (2009), a portrait of his wife Karon depicted as the Egyptian goddess; Savage Wilds (2012), a series in which Davis cast his gaze upon the complex portrayals of Black subjects on daytime television; and the renowned Pueblo del Rio series (2014), paintings that reimagined one of the oldest, largest, and most architecturally significant public housing developments in Los Angeles.

The exhibition is curated by Eleanor Nairne, Keith L. and Katherine Sachs Curator for Modern and Contemporary Art and Head of Department at the Philadelphia Art Museum and former Barbican Senior Curator, and Wells Fray-Smith, Curator, Barbican.

“On every encounter, I am struck again by the potency of Noah Davis’s work and it is an honor to share his practice with audiences in Philadelphia,” said Nairne. “Given how voraciously he drew from art history, I like to think that he would have been glad to be in the rich company of the museum’s collections.”

The exhibition will be accompanied by an illustrated catalog of essays and archival material copublished by Prestel, with original texts by Tina M. Campt, Wells Fray-Smith, Paola Malavassi, Eleanor Nairne, and Claudia Rankine. Additional contributors include Dawoud Bey, T. J. Clark, Francesco Clemente, Karon Davis, Marlene Dumas, Helen Molesworth, and Jason Moran.

About Noah Davis

Born in Seattle, Washington, in 1983, Davis had his first painting studio in high school. He briefly studied film and conceptual art at Cooper Union in New York before leaving to pursue his own artistic education. By 2004 he had moved to Los Angeles and was working at the bookshop Art Catalogues, where he could feed his appetite for a wide-reaching history of culture and, in particular, painting. Drawing on the legacy of artists ranging from Caspar David Friedrich to Mark Rothko, Romare Bearden to Kerry James Marshall, he developed a distinctive painterly style—one that engaged deeply with both the histories of representation and abstraction. Davis blended historical and contemporary source material to create images of Black life that are unbound by a specific time or place. Davis passed away in 2015 at age 32 from a rare form of cancer.

About the Philadelphia Art Museum

The Philadelphia Art Museum is a national and international destination for art, but first, we are Philadelphia’s art museum—for all of the many diverse communities of the city. Through our collections, exhibitions, events, educational activities, celebrations, and more, the museum is a storyteller, and we welcome everyone to be part of the story—our doors are wide open. To learn more, go to visitpham.org. Instagram / Facebook / X / Threads / YouTube / TikTok: @visitpham