Untitled (USA Today) — candy piles that slowly deplete as visitors consume them — was created during the height of the AIDS crisis to symbolize life's ephemerality. Andrea Bowers's colored ribbons with slogans like "ban assault weapons now" are better suited for a protest rally than the old oak tree, and Carsten Höller's Pill Clock dispenses candy-apple-red capsules as a form of social experiment. We've already been thrust into a topsy-turvy world, where museological conventions of consumption and traditional notions of materiality are flipped on their heads. Will we take the proffered pill and dive even further down the rabbit hole?
Yoko Ono, Air Dispensers, 1971-2016. Courtesy the artist.
The Jewish Museum's reboot of a 1995 Serpentine Gallery exhibition one-ups your average museum-gift-shop merch with a presentation of over forty artworks ripe for the taking. Kleptomaniacs, delight: Museum guards condone sticky fingers dipping into pieces spilled across floors, dumped in bins, or stacked neatly on crates. Just don't be fooled by exteriors: The brightest, cheeriest works often transmit the soberest of messages. Felix Gonzalez-Torres's