What is delivered in abundance in Alison Klayman’s observation of the David and Goliath parable that is modern artist/agent provocateur Ai Weiwei’s career is political dissent. Not so much the art itself, regardless of the titbits sporadically showcased (including Weiwei defacing priceless centuries-old artefacts as a retort to Mao’s revisionist vandalism) throughout the venture. Or [...]
