Avram Finkelstein looks back on Gran Fury’s contribution to the 1990 Venice Biennale, The Pope and the Penis, and considers how the immediacy of social media might have impacted the AIDS activist collective
With the spotlight at the Venice Biennale falling all-too-often on the 30 national pavilions in the Giardini, writer Jennifer Higgie asks whether this 19th-century format still makes sense