At No Comply Foods in Great Barrington, skate culture, punk music and globally inspired comfort food collide in a pink frame house on Stockbridge Road where community matters as much as what’s on the plate. Opened in 2024 and named for a skateboarding trick, the restaurant hums with eclectic music while its walls double as a gallery of patron-gifted art — brightly colored skateboard cartoons, portraits of the owners’ pug, Honeybun, and offbeat collages.
High school sweethearts Julie and chef Steve Browning both loved skateboarding and punk music, especially the 90s California ska-punk band, Skankin’ Pickle. They also share a love for good food and a strong sense of community and fairness. After stints at Lutèce and the 21 Club in New York City, Steve helped open Prairie Whale in Great Barrington as the inaugural chef and worked there for 10 years. His partner, Julie, is a full-time special education teacher at Housatonic Valley Regional High School in Falls Village.
They opened No Comply Foods with their unique vision. “It’s a place that we did on our own terms,” said Julie. “Despite people trying to tell us things that we needed to do to be a successful restaurant, we do the things that we want to do.” Those things include no alcohol, no tips and no reservations. “It’s a place that anybody can come into, just sit down, eat and feel welcome. A complete reflection on who Steve and I are, and who we have been. That’s what this place is.”
Jena Battaglia at No Comply Foods in Great Barrington, serving tomato garlic cream soup and artichoke grilled cheese sandwiches during Sunday brunch.Jennifer Almquist
Clearly, their formula is working. In its August 2025 issue, Bon Appétit Magazine named No Comply Foods one of the 14 best new breakfast spots in the U.S.
Brunch on the first warm Saturday this winter offered Turkish eggs with labneh; two sunny-side-up eggs on a Japanese sweet potato topped with chili crisp; tender soft-boiled eggs resting on steamed spinach with silky béarnaise sauce, rye toast and smoked bacon; a plate piled with buttermilk pancakes with a dollop of maple butter and circles of powdered sugar; and mugs of strong coffee. The place stayed packed for hours, every seat filled as families fresh from skiing — suspenders hanging, boots clomping -— came in for warming meals. One couple marked a post-Valentine’s moment by sharing a chocolate heart doughnut by Pastries by Hanna, a baker in Canaan, Connecticut.
Wedge saladJennifer Almquist
Browning cooks globally influenced food with chef Dimitri Koufis, and the dinner menu changes daily. Recent offerings have included French fries with black pepper aioli; fried cauliflower with couscous, olive tapenade, orange and fenugreek yogurt; hot dogs and fries with jalapeño cheddar and special sauce; leek and mushroom pot pie with oyster mushrooms, spinach, cream and mascarpone; and rigatoni Bolognese with Grana Padano, onion soubise and herbed breadcrumbs. If you still have room for dessert, you might try an apple crostada with caramel sauce and ice cream or chocolate mascarpone mousse.
Prices are reasonable. The menu emphasizes fresh food to reduce waste, and produce is seasonally sourced from local farms. Guests can plan a party in the brightly lit upstairs space, enjoy special evening events that might include live music or comedy, or attend themed menus such as Greek Night. No Comply Foods is dog-friendly.
For hours and more information, visit: nocomplyfoods.com
Contemporary chamber musicians, HUB, performing at The Clark.
MASS MoCA is known for its 20th-century holdings spread throughout a sprawling complex of industrial brick buildings. Installations by Sol LeWitt and James Turrell have permanent homes there. Just down the road in Williamstown, the Clark features masterworks by Winslow Homer, Frederic Remington, John Singer Sargent and Claude Monet.
But what visitors might not immediately associate with those established names is how deeply both institutions invest in art happening right now.
On Saturday afternoon, a panel of young artists discussed their relationships with art, identity and technology as part of MASS MoCA’s “Technologies of Relation” exhibition, which opened that evening. The artists represented a broad range of cultural backgrounds, drawing on ancestry while exploring the future of art and technology.
The work itself ran the gamut: wax relief paintings, stained glass, interactive video and sculptural installations. One immersive piece automated the traditional Armenian practice of reading fortunes from coffee grounds. Particularly striking were Roopa Vasudevan’s hand-drawn QR codes and Taeyoon Choi’s large-scale weavings of binary code.
Opening the same night was Zora J. Murff’s “RACE/HUSTLE.” Through photographs, paintings and installations, Murff explores the wide-ranging and sometimes violent implications of being Black in America today. Each piece — whether confronting the rise of white supremacy or examining stereotypes imposed on Black communities — carries razor-sharp visual commentary designed to unsettle.
Pelenakeke Brown’s “Reverb” (detail) at Mass MoCA. D.H. Callahan
On Sunday, the Clark continued the contemporary thread. A small exhibition of work by Raffaella della Olga, titled “Typescript,” features intricate patterns created using a typewriter on varied paper surfaces. The effect seems almost impossible until viewers watch a video of della Olga loading her typewriter with 140-grit sandpaper and typing in a hypnotic rhythm. Though the typewriter is considered obsolete technology, she continues to find new applications for it, completing some of the works in recent months.
Next door in the Clark auditorium, HUB New Music performed works written specifically for its unusual instrumentation: violin, cello, clarinet and flute. While that combination may not stand out to casual listeners, relatively little classical repertoire exists for it. The ensemble regularly commissions composers to expand the possibilities.
The results were striking. From the opening notes of Francisco del Pino’s “Passacaglia,” the quartet’s command and layered repetition pulled unexpected emotion from the audience.
After three pieces came the world premiere of Daniel Wohl’s “Mirage,” a roughly 25-minute work accompanied by digital blips, static and electronic textures evoking radio transmissions and UFO lore. Hearing four virtuoso musicians extract entirely new sounds from traditional instruments echoed the weekend’s larger theme: old tools made new again.
Like della Olga’s typewriter, Vasudevan’s QR codes or Murff’s charged imagery, the performances demonstrated that contemporary art often grows from familiar materials — reimagined.
The old masters will always draw visitors to these institutions. But when living artists command equal attention, this quiet corner of the Berkshires feels less like the middle of nowhere and more like a creative epicenter.
D.H. Callahan is a voice actor, creative director and trail steward. He lives with his artist wife in West Cornwall, Connecticut.
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