••• From a reader: “I saw the blurry photo of The Beekman and wanted to share a few shots I snuck during the preview event on May 26.” The thrill of illicit photos is almost enough to soothe the pain of not being invited. “The lobby, bar areas and atrium are mostly done and we were able to see some completed rooms. The restaurants were closed off and from what I’ve seen from the street, they have a long way to go. What has been completed is really beautiful, nicely pulling together historic details with new updates.”

••• Councilmember Margaret Chin released a statement about the push-polling firm that made it look as if her office was calling: “I am incredibly troubled by reports that Political Connection, a firm hired to conduct outreach to my constituents, used misleading information in order to solicit support for the Water Street text amendment. At no point was my office aware of misrepresentation by any group about this important issue. Upon learning about this solicitation, my office consulted with legal counsel about possible enforcement action to ensure that these kinds of misleading tactics do not happen again. I would like to assure the dozens of people that wrote letters, testified, and attended meetings on both sides of this issue that it is their voices—not those purporting to represent a City Council office—that will be heeded as the process of determining the future of Water Street continues.”

••• This Sunday at Aqua, the underwater cycling studio: “All classes will be co-ed (normally women’s and men’s only), and cost only $20, when they are usually $47.” There are also product samples and raffles and whatnot.

••• I clicked the link in this tweet and it appeared legit. I’ve linked the image to that URL, so just click the image if you want to try RSVPing.

••• Opening June 7 at Patrick Parrish: “Autonomic, a solo exhibition of new lighting works by Bec Brittain. Autonomic will introduce Brittain’s first two series of freestanding lights, Vault and Crane. The Vault series uses concrete bases to visually and structurally anchor thin curving lines in space, punctuated with LED tubes and ceramic and wood elements. The widely varying scale of the pieces prompts a different interaction with the viewer; some pieces are human scale and are easily perceived as objects, while others become architectural, creating space for one to walk through.  The Crane series is about material: brass acts as the crane hoisting a load of glowing glass. The brass holds a comparable volume of the lighter glass, in scenarios that appear precarious but, due to the material differences, aren’t.”