“I wholeheartedly support the resistance where hundreds of protesters were seriously injured and condemn the violence exercise by the police,” says Fulya Erdemci, curator of Mom, Am I a Barbarian?, the next Istanbul Biennial. “Against the barbarians altogether!”

Tino Sehgal has won the Golden Lion for best artist at Venice Biennale for “his performance piece in which a small number of people hum and beatbox while moving on the floor.” He was the subject of a Walker solo show in 2008.

Richard Serra’s Shift is safe. Threatened by a planned development near King City, Ontario, the work—a stretch of zigzagging concrete wall—has been designated a cultural heritage site by the township council. The 1970-72 work sits on private property.

In her work in the Venice Biennale, Hito Steyerl offers a how-to video on being invisible in an age of image proliferation, with tactics from facepaint that makes one disappear on green-screen to boxes worn on the head to appear “smaller than the size of a pixel.”

“Embracing the multifarious forms that knowledge and creativity can take,” the Massimiliano Gioni–curated 55th Venice Biennale resists the feel of a wunderkammer, writes Coline Milliard, who dubs it the “most successful” biennale in recent years.