What's the difference between a commissar's propaganda and a Constructivist's poetics of production? Marco Deseriis reviews Gerald Raunig's 'Art and Revolution' and ponders some of the gaps in his aesthetic-political theory

There are books which are imbued with an anachronistic aura from their very release. Books whose untimely publication makes you wonder whether their moment has irrevocably gone by or is perhaps still yet to come.

3-5pm, Sunday 3 August 2008. Upstairs at Publish And Be Damned self-publishing fair, Rochelle School, Arnold Circus, London E2. Free, no booking required.

Does private-public funding and management of culture mark the death of institutional and critical autonomy? And is direct censorship an anomaly, the most visible form of a wider constriction of cultural freedom, or the shape of cultural policy to come?

The problem with critiques of curatorship is that they usually end up reinforcing the central importance of the curator. Alberto Duman contemplates a recent addition to the field and suggests ways to break the cycle of self-affirmation

If its corporate context increasingly undermines art's critical status, the titling of a recent exhibition at Bloomberg – No, Future – suggests that the relationship between art and business may have already 'peaked', says Peter Suchin

The MIT published MediaArtHistories, edited by Oliver Grau, helps further establish the (media) art historical canon. But, writes Charlotte Frost, its success can also be seen as an index of its failure

Architect Cedric Price's designs were seldom realised but his vision inspired 'fun palaces' from the Beaubourg to the Millennium Dome. Mark Crinson looks at two recent publications which deal in different ways with Price and his legacy

As money expands, society contracts. In the UK the unholy trinity of Private Finance Initiatives, Private Equity and Pensions embodies this logic, turning jobs, services and infrastructure into factories for finance capital. Rob Ray explains how the 3 P's interact to pile up corporate fortunes and devolve risk on to the rest of us

In her recent anthology Participation, Claire Bishop targets the suspect utopianism of relational aesthetics – a new model public art for the age of consensus. But, writes Paul Helliwell, her alternative reading of participation, made across a set of historical texts and concerned to preserve the autonomy of art, may have blocked itself with her deployment of the fashionable Jacques Rancière