Good morning. It’s Tuesday. Today we’ll look at what makes a landmark. We’ll also find out about an office tower in Lower Manhattan that has become a place for artists, designers and boutique creative agencies by day — and for attention-getting parties by night.

What is a landmark? What should a landmark be?

Those questions have come up in different ways in the last few days, first in an essay by The Times’s architecture critic, Michael Kimmelman, then in an annual list by the Cultural Landscape Foundation, an education and advocacy organization.

The list is a departure for the group. In the past it has zeroed in on “at-risk landscapes.” This time there’s a beach in Miami, a levee in Louisiana — and, in New York City, a park and a playground in another park. Not one of them is deteriorating or facing demolition. They made the list because they are places where protests unfolded — protests that the foundation says are in danger of being forgotten.

The sites have “a unique power of place because they serve as reminders that they were the stages for those events where it happened,” said Charles Birnbaum, the president and chief executive of the foundation, adapting a line from the song “The Room Where It Happens” in the musical “Hamilton.” The foundation said that protests and civil disobedience at the sites on the list were “not only a defining part of our shared history since the colonial era, but they also continue to the present day on campuses, at political conventions and elsewhere.”

The two sites in New York City were chosen because 2024 is the 50th anniversary of the publication of Robert A. Caro’s classic, “The Power Broker: Robert Moses and the Fall of New York.” Both fit the foundation’s theme because in both places protesters mobilized — and the seemingly all-powerful Moses did not get his way.

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