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.”

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.”