Loyd Grossman

Smart Italian restaurants in cultural destinations are like buses: you wait ages for one and suddenly two come along at once. I recently praised Locatelli at London’s National Gallery. Returning to the city, it is the turn of Cicoria at the Royal Ballet and Opera, Covent Garden; a joint under the aegis of Angela Hartnett, well-known for her upscale restaurant Murano in Mayfair, her casual chain Cafe Murano and her frequent appearances on the box. Surprisingly few of the world’s great opera houses have given much thought to catering, although things are improving. I ate very well recently at Madrid’s Teatro Real and you can push the boat out with caviar at the Met in New York.

In the global poker game of cultural repatriation – otherwise known as who nicked what from whom – the Greeks seriously upped the ante with the opening of the Acropolis Museum in 2009. This lavish display of archaeological treasures in a light-filled building designed by the Swiss architect Bernard Tschumi is, alongside the recently opened Grand Egyptian Museum in Cairo, an exemplar of such a building’s mission to educate and inspire. In the tradition of polemic buildings, it is also a $200 million plea to return the Elgin Marbles from the British Museum to Greece.

Does your museum feel tired and run down? Is the entrance unwelcoming? The bookshop shabby? The restaurant a mere café? If so, call Annabelle Selldorf, the German-American architect whose talent and sensitivity have made her the go-to person for reviving weary museums. Her recent transformation of the Frick in New York has been widely acclaimed and she will soon start work on the Wallace Collection in London. But the latest masterwork has seen Selldorf sprinkle her fairy dust on the Sainsbury Wing of London’s National Gallery. Those with long architectural memories will recall how in 1984, the then Prince of Wales christened the proposed new wing of the Gallery “a monstrous carbuncle on the face of a much-loved and elegant friend.

You will be familiar with the 1930s line, “Whenever I hear the word culture, I reach for my gun.” Whenever I hear the word culture I reach for the nearest restaurant. Culture makes me hungry and there is no better place to post-mortemize the latest exhibition or concert than from a comfortable seat in a local joint. For 19th-century progressives, railway stations were the most in-your-face examples of a new and better world. “The railway station is the highest monumental and artistic expression of the industrial and commercial genius which so specially characterizes the era in which we live,” César Daly proclaimed in 1861.