INDIAN-INSPIRED: Chicken Tikka Masala; There are many culprits for the internet-onset A.D.D. many of us suffer. Some blame twitter, Others gchat. Still others think it’s Cabin Porn’s fault. I blame tabbed browsing. For about 10 days, I had this recipe for Purnima Garg’s Eggplant and Tomato Curry up in not one but two tabs: on Food52, where it originally appeared, and on my Everyday Dinners pinboard, which is one of the places I go these days to search for meal inspiration. For me, tabs hover in an in-between space between my full attention and total oblivion. I very rarely revisit my bookmarks, so saving a page is as good as clicking a window closed permanently. To keep a tab open is to promise myself that I’ll get back to it, soon. But it also lingers on the side of my attention, a distraction from whatever else I’m trying to accomplish. If the tab includes a spectacular recipe and I’m not in my kitchen, the recipe tab stays open til I’m ready to cook, tempting me and making my mouth water while I type.

I had this Food52 Eggplant and Tomato Curry tab open for 10 days! I finally took the time to make it on a quiet Saturday. Alex and I were in and out of the apartment all day, and after a walk in the park, while he ran out to the hardware store to buy some spackle, and, um, a new toilet seat, I grabbed that tab by its horns, and, subbing zucchini for eggplant, I made us some curry for lunch. Air Purifier Reviews SunbeamIt’s a to-die-for recipe, well-spiced and tangy from the condensed tomatoes, perfect atop rice and beneath a big spoonful of plain yogurt. Homes For Sale By Owner 37405So don’t be like me: keep this tab open for a day or two, at the most. Bengal Cat Breeder MissouriThen make this new vegetarian favorite, then close the tab, then move on with your life.

(If you’re wondering, this is the recipe tab I’ve got open right now.) From my kitchen, albeit small, to yours, Cara, THE QUARTER-LIFE COOK Zucchini and Tomato Curry 1 tablespoon canola oil, plus more as needed 1 teaspoon brown mustard seeds 1 teaspoon whole cumin seeds 4 medium zucchini, halved lengthwise and cut into 1 1/2-inch chunks 1/2 serrano chile, seeded and chopped fine 1 teaspoon ground coriander 14 ounces canned diced tomatoes, with juice Heat a large frying pan over high heat for 4 minutes, until very hot. Add the oil, then throw in the mustard seeds and cumin seeds and cover immediately. Cook until the seeds stop popping, about 30 seconds. Add the sliced onions, and stir occasionally over medium-high heat until they are deep brown in spots, about 15-20 minutes. Push the onions to the side and drizzle a little more oil into the rest of the pan. Add the zucchini and cook for about 10 minutes, stirring occasionally to let the skin turn golden and the flesh start to soften.

Add 1/2 teaspoon salt and mix to distribute. Add the chile, ground coriander, tomatoes, and salt and pepper. Turn the heat down to medium and cook until the zucchini is soft and the tomatoes have thickened and clung to the zucchini, about 5-10 minutes. Add the rest of the salt, and taste to see if it needs more. Serve with white rice. Top with a dollop of plain Greek yogurt. Other posts you may enjoy: Salmon Spaghetti with Plum Tomatoes and Avocado Recipe Flash: Curried Sweet Potato Soup Vegetable Korma with Homemade Curry Paste & Warm Naan Recipe Flash: Shrimp & Tomato OrzoFrieze New York opens its doors to the public today, but already during yesterday’s press and VIP preview the aisles were crowded, the common areas and restaurants filled with worn-out fairgoers, and it seemed as if the only empty seats were sculptures. It’s not news that galleries bring their top chair game to art fairs, but at Frieze they’ve gone a step further and brought an incredible number of sculptures and installations involving chairs, benches, stools, recliners, and couches.

There are impossibly hard and heavy seats made of stone. New York gallery Salon 94 has a selection of stools in red and white marble by the Swiss design duo Kueng Caputo (Sarah Kueng and Lovis Caputo). And at least three galleries — including Skarstedt, Sprüth Magers, and Cheim and Read — are showing inscribed marble benches by Jenny Holzer. The lion’s share of Frieze’s seat sculptures look precarious and uncomfortable — for a broad range of reasons. The awkward scenario evoked by the title of Ryan Gander‘s hyperrealist wooden sculpture “The way things collide (Toyota Prius driver’s seat, meet used tampon)” (2014), on view in gb agency‘s booth, undermines the finely crafted cherry car seat’s practically palpable plushness. In the fair’s Frame sector devoted to solo presentations by galleries founded in the last eight years, Swiss dealer Barbara Seiler has sacrificed one of her narrow booth’s few chairs to an impromptu, site-specific intervention by Cécile B. Evans.

Luckily visitors can sit on the plush rug nearby to watch Evans’s cryptic video of an uncanny Philip Seymour Hoffman avatar. Two galleries brought bench sculptures by Jeppe Hein — who is about to grace Brooklyn Bridge Park with his playful outdoor art — and while the staff of Johann König made good use of their “Modified Social Bench #30” (2012), workers in the Galleri Nicolai Wallner booth had no such luck with “Modified Social Bench #14” (2011). Other seat sculptures at Frieze are impractical because they are already filled. In the Mendes Wood DM booth, two Adriano Costa sculptures feature small, utilitarian folding stools stacked high with precarious, Rube Goldberg-like rigs. Warsaw’s Galeria Foksal is showing a bench by Pawel Althamer that was made from NYPD barricades and that is occupied by a reclining figure cobbled together from trash. (Trash and found-object sculpture is another of this year’s recurring trends at Frieze.) Beijing’s Long March Space, meanwhile, has a full Ming dining room set by Zhan Wang, but the table and chairs have large stainless steel stones lodged in them.

In the booth of London gallery Sadie Coles — which also boasts some wood-and-concrete seats by Sarah Lucas for the gallery staff — there’s an Urs Fischer sculpture that consists of a chair precariously balanced on its two back legs, with one of its front legs propped on a small Evian bottle. Whether the sculpture is intended as a commentary on the evil of the bottled water industry or the global epidemic of poor posture, it’s worth noting that the seemingly wooden chair is actually made of plaster and fiberglass. Despite the predominance of uninviting seat sculptures, there are also a number that look quite comfortable. Chief among them is Mary Heilmann‘s “Rietveld-Remix #7” in 303 Gallery‘s booth. Visitors to the new Whitney Museum have had a chance to take this popping polychromatic sculpture’s functional metal cousins for a test sit on the institution’s fifth floor terrace. On the more monochrome and much softer side of things, Oslo’s Karma International is showing a comforter sculpture and a chair, both made of silicone, by the young French artist Mélanie Matranga.

Sleek seats by household names are on view, too, in the booths of Paul Kasmin and David Nolan, who have brought chairs by Ron Arad and Richard Artschwager, respectively. Others have taken a more irreverent approach to their would-be seats. Christopher Schank‘s pink contraption in the Almine Rech Gallery booth, “ALUfoil Chair (Pink)” (2015), looks positively space age. And Turner Prize nominee Nicole Wermers‘s “Untitled Chair” sculptures — on view in both Herald St and Tanya Bonakdar Gallery‘s booths — could have been stolen from Upper East Side gallery offices where, one suspects, fur coats are draped over modernist chairs on a daily basis. A few of Frieze’s seat sculptures are brashly maximalist. Athens gallery The Breeder has given over the bulk of its booth to a stadium-seating style installation by Andreas Angelidakis, “Crash Pad” (2015), which is punctuated with columns and books, and draped in colorful carpets. At three locations in the fair, as part of its Frieze Projects program, Thai artist Korakrit Arunanondchai has installed recliners sheathed in bleached denim atop kaleidoscopic carpets.

The installations are riotously colorful, to the point of being intimidating, but by day’s end on Wednesday they were in high demand. The seats-as-art trend is so prevalent at the fair that it has spilled out of the tent in the form of Samara Golden‘s Frieze Project, “Colossus” (2015). An armchair and couch, both upholstered in a garish floral pattern that Golden has supplemented with hand-painted flowers, face a cutaway in the bottom of the tent. Underneath, colorful mannequins stand, sit, and recline in a seemingly subterranean grotto, a mirror illusion similar to her incredible, M.C. Escher-esque installation currently at MoMA PS1. Incredibly, among all the seat sculptures, there’s only one toilet at Frieze New York, and an impractically narrow one at that — Erwin Wurm‘s “Toilett” (2014) in the Galerie Thaddaeus Ropac booth. What to make of Frieze’s pervasive seats-as-sculptures trend? Is this a harbinger of a future collapse of contemporary art and furniture design into a hybrid, high-end home decoration market?