of the moment: central/northeast In any discussion of the recent small-batch distillery boom, the Empire State’s booze-infused land-scape is unparalleled. Here’s a look at some of New York’s top-shelf bottles. Some are only available in New York, giving spirit enthusiasts one more reason to travel this season. | impressions Home to some of the world’s most iconic structures, Chicago gets its own bien-nial dedicated to architecture in 2015. Launching Oct. 3 and running through Jan. 3, 2016, the event, titled “The State of the Art of Architecture,” will explore the cultural practice of architecture that pervades everyday life, encompassing a range of exhibitions and full-scale instal-lations. Aiming to compete with the likes of biennials in Venice, Italy, and Sao Paulo, Brazil, the Chicago Architecture Biennial will host 60 participants from around the world and boasts a star-studded advi-sory board, which includes names like Elizabeth Diller and Frank Gehry. SPIRIT OF NEW YORK TRY: Orange County Distillery WHY: Two men, John Glebocki and Bryan Ensall, run the entire show, from growing corn and sugar beets to getting the product into bottles. TRY: Tuthilltown Spirits WHY: A range of products are made with a farm-to-bottle philosophy. Apples for vodka are picked 5 miles away; corn for whiskey is grown down the road. TRY: Cacao Prieto WHY: This company makes both liquor and chocolate; naturally, it also mixes the two in the unique, award-winning Don Rafael Cacao Rum and Don Rafael Cacao Liqueur. TRY: King’s County Distillery WHY: Bourbon made from organic New York corn and malted barley from the U.K. won awards from the American Distilling Institute from 2012 to 2014. TRY: Greenhook Ginsmiths WHY: Bold, high-rating gins characterize this Brooklyn-based distillery, which uses vacuum distillation to preserve botanical ﬂ avors. In the 1980s, Philadelphia established Mural Arts as part of its Anti-Grafﬁ ti Network, to channel the energy of grafﬁ ti writers into constructive public artworks. The Mural Arts Program has since expanded into its own organization and, in October, hosts the month-long event, “Open Source.” Artists from across the world will land in the city to create public art as part of a host of festivities. Jane Golden, executive director of the pro-gram, discusses the organization and event with Montage Magazine . PAINTING THE CITY MM: How has community perception of pub-lic art changed since the program’s beginnings? JG: We have artists who are internationally known coming. ... People feel a real pride for the work and we have a waiting list of people who want art on their buildings. What started as an anti-grafﬁ ti movement has become a public art initiative that values art for public change as well as art for what it is. MONTAGE MAGAZINE : How has the Mural Arts Program’s approach to grafﬁ ti beneﬁ ted the community? JANE GOLDEN: We created a program that was really responsive to [artists’] needs and gifts, [and] have seen art become a tool and a catalyst for social change in neighborhoods that had been decimated by grafﬁ ti and crime. MM: What are you most looking forward to with “Open Source”? JG: There will be things for art lovers and families, tours, discussions, curator Q-and-A’s and parties. It will be cerebral, fun and inspiring. I’m looking forward to doing something ambitious that will have a longstanding and sustainable inﬂ uence on the future. “Open Source” is so complex. ... It’s dealing with serious issues that cities globally are facing. I’m proud that Philadelphia is able to do this. I feel we’re in the right place at the right time.