The new Palestinian Museum scheduled to open in Birzeit next year, is only political, says curator Jack Persekian, “in the sense that it provides spaces and opportunities for Palestinians to shape their own historical narrative and to engage with it.”

For a new show in Hong Kong, Ai Weiwei has created a map of China using 1,815 cans of baby formula. After six children died from melamine-tainted milk in China in 2008, many on the mainland have turned to Hong Kong in search of new sources of milk powder.

In curating the 2013 Venice Biennale, Massimiliano Gioni isn’t creating an “anti-Biennale,” as Francesco Bonami put it. With The Encyclopedic Palace, he’s aiming for “a temporary museum more than simply a show that captures the supposed zeitgeist.”

Our friends at Creative Time Reports have posted an open call for original photography of public spaces—whether Zuccotti Park, Tahrir Square, or Oscar Grant Plaza—before, during, or after major political events or social struggles.

Jay Dockendorf has been noticing curious graffiti on sculpture placards at Pratt Institute—adding missing apostrophes, correcting typos, tightening language. “Somehow the poorly edited placards make the sculptures better,” he says, “by encouraging critical thinking.”

Themed “Punk: Chaos to Couture,” the Met Ball saw the real deal in attendee Vivienne Westwood. Instead of donning era-appropriate zippers and pins, the fashion designer showed up with a laminated photo of Army whistleblower Bradley Manning with the word “truth.”

The Walker’s Painter Painter exhibition reflects “the current vogue for the open-ended, dialogic,” writes Christina Schmid. “Yet what Nicolas Bourriaud has dubbed the ‘culture of courtesy’ ensures that moments of genuine friction remain rare.”

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.”