Thomas Hirschhorn’s Gramsci Monument, to run July 1 thru Sept. 15, will host a range of activities—including a radio station—from a structure on the grounds of a Bronx housing development. The Dia-backed project is the last of his philosopher-based monuments.

Usually silent on ripoffs of her art, Barbara Kruger comments on a suit by clothing brand Supreme (with its Krugeresque logo) against designer Leah McSweeney. Of the “uncool jokers” involved, she writes, “I’m waiting for them all to sue me for copyright infringement.”

Spite doesn’t seem to underpin art in William Powhida’s new LA show, which apes artworld “formulas” from Cattelan-style taxidermy to Richterian abstraction, writes Holly Myers. He sincerely asks, “How does the art world work and how should we feel about that?”

What’s it feel like being curated? Eight artists weigh in on the rise of the curator and what it means, including W.A.G.E., Slavs and Tatars, and Daniel Buren, who revisits his 1972 statement “Exhibiting Exhibitions.”

Some of Andy Warhol’s most iconic works are absent from a just-opened show at Shanghai’s Power Station of Art—his portraits of Chairman Mao. It was a “mutual decision” between the center and the Andy Warhol Museum, which loaned some 300 works for the exhibition.