Interested in US drones, Israeli-born artist Omer Fast took out a Craigslist ad seeking a drone operator. Enter the FBI. He tells Eyal Weizman, “We were told to stop what we were doing and threatened in suggestive, spy-movie language.”

With union rights and unemployment continuing to make headlines, artists and museums are again focusing on labor, from Theaster Gates’ sculptural shoeshine chairs to the Minneapolis Institute of Art’s show The World at Work: Images of Labor and Industry.

The proposed change to Instagram’s terms of service has irked many, but one of the more high-profile users taking note is National Geographic, which used the platform to tell its 640k followers it’s suspending its account over the proposed change.

In March, Abraham Cruzvillegas will show his “autoconstrucciónes” at the Walker, but currently in LA it’s Autodestrucción—works that show how Internationalism can be “appropriated, customized, modified, adapted and even destroyed” based on local needs.

A show at a Columbia University’s Arthur Ross Architecture Gallery examines “non-art,” that is, “damaged art objects that insurance companies deemed worthless by a legal maneuver that entitles the owner to an indemnification payment.”

Andy Freeberg’s portraits of women gallery monitors in Russian museums move focus from the art to its guardians, creating some compelling juxtapositions: “The women’s positioning, their clothing, the angles of their faces—all seem almost set-up in the images.”

“In a day, we experience most images with a cursor,” says the Walker’s Eric Crosby of Painter Painter, an exhibition of works that resist that notion, including pieces that are “sprayed, frayed, printed, stitched, glued, smeared, stretched, and so on.”