THE NUMBERS ARE THE ARGUMENT. Three hundred thousand square feet by Ma Yansong of MAD Architects with Stantec. More than a hundred thousand of those square feet are gallery, across thirty-plus rooms. More than one thousand three hundred works in the inaugural exhibitions.

AND THE HANGING LIST IS THE REAL PROVOCATION. Artemisia Gentileschi and Norman Rockwell. Frida Kahlo and Robert Colescott. Vincent van Gogh, George Bellows, Jacob Lawrence, Diego Rivera, Judith F. Baca — beside Frank Frazetta and Robert Crumb. A fantasy paperback illustrator and an underground cartoonist, in the same institution, under the same argument: that a picture telling a story is one category, not two.

GEORGE LUCAS PUT IT PLAINLY — the museum "was created to honor humanity's stories and the artists who illustrate them." Mellody Hobson named the ambition: "We wanted a museum unlike any other — one that brings people from every walk of life through the same doors."

IT IS NOT ALONE ON THE CHART. The same Sunday, The Odyssey had taken $609,811,695 across sixty-six days, and a new Resident Evil opened to $60,152,878 in three. Two films past half a billion in a single late summer, and a third franchise opening on top of them.

EIGHT WEEKS IN, THE SPIDER-MAN FILM WAS STILL TAKING NEARLY TWO MILLION DOLLARS ON A SUNDAY. Every dollar of the record is a seat somebody sat in, in a dark room, at a set time, with strangers. The format a decade of commentary buried has just produced the biggest run it has ever recorded.

READ THAT AGAIN. A New York fair rescheduled its own city's art week around a fair in Seoul because one owner holds both, and two of its properties were competing for the same dealers, the same crates and the same collectors' air miles.

WHAT IS INSIDE: around two hundred and thirty galleries from more than thirty countries. The floor plan is now organised around the building's entrances — the south spotlighting Caribbean and diaspora artists, the north weighted to US and New York galleries. Presents, for younger galleries, and Solo, for single-artist stands, each grow by roughly a fifth, to about fifty-five and twenty-five. Platform is curated by Jovanna Venegas of SculptureCenter and Focus by María Elena Ortiz of the Modern Art Museum of Fort Worth, both centred on Caribbean work.

THE FAIR DIRECTOR KYLA MCMILLAN FRAMED IT AS OPENNESS: "The Armory Show has always reflected New York's openness: to artists, galleries and ideas from across the Americas and the wider world."

THE DESIGN DECISION IS THE STORY. The tapestry is laid flat beneath glass rather than hung upright, so you look DOWN into the embroidery, the way you read a table, not a wall. You enter the room at the END of the tapestry, not its beginning. And above it, black-and-white animations on the wall recreate selected scenes from the stitching.

READ THAT AS A CURATORIAL ARGUMENT. A thousand-year-old strip of cloth has been staged like an installation: an unfamiliar entry point, a posture that forces you to lean in, a moving layer above the still one. The object did not change. The room around it was built to make you feel you had never seen it.

NOTE THE WORD ORIGINAL. This is not the game's licensed soundtrack — the report is explicit that it is music created specifically for the game, with more to come on the dynamic score and what Rockstar calls "the next evolution of in-game radio".

READ IT AS A COMMISSIONING BUDGET. For two decades these games licensed songs that already existed and turned their radio stations into a canon. This time the game is paying for songs that did not exist, from the artists who top the charts and the ones who run the clubs, and pairing with a label to release them. A game studio has become one of the most important music commissioners on earth.