The fact that there was so little comment on Maurizio Cattelan’s carte blanche to juxtapose works by an older generation of artists with his own during the Italian artist’s Menil Collection retrospective in Houston this year – Warhol and Rauschenberg included – is telling. It suggests that Cattelan will enjoy a similar durability to these artists, and this implicit esteeming may have influenced the decision by Milan’s city authorities to green-light Against Ideology (2010), a sculptural one-finger salute in the direction of the Italian Stock Exchange, sited outside Cattelan’s four-work show at the Palazzo Reale Museum this September. All of which demonstrates that the artist is of such a standing that he gets whatever he wants: dangerous territory for a notorious prankster.