SINCE THE BEGINNING of his career, German artist Tobias Rehberger has made the creative input of others integral to his practice. He has constructed living-room-like spaces based on his friends’ notes and sketches for a “relaxed and meditative environment” (for the project Fragments of Their Pleasant Spaces [In My Fashionable Version], realized first in 1996 and again in 1999); once he even arranged for craftsmen in Thailand to make full-size, functional versions of high-end cars on the basis only of rough pencil sketches he provided (Nana, 2000). More recently, Rehberger built a thirty-six-foot-long

The Nicola Trussardi Foundation always chooses public spaces in Milan for its exhibition venues, and thus Pawel Althamer’s solo show was installed in the frescoed neoclassical rooms of the Palazzina Appiani, Arena Civica. Napoléon personally presided over the opening of the Arena in 1807. This exhibition, curated by Massimiliano Gioni, was the first large-scale museum show in Italy for Althamer, who was born in Poland in 1967. Three years ago Althamer won the Vincent van Gogh Biennial Award for Contemporary Art in Europe, and he has already taken part in some of the most important international