Death of capitalism now on sale for €25

The Dutch designer Twan Verdonck has something to say. The artist, who has had works displayed in the Museum of Modern Art in New York, has launched a new project called "We Are Numbers", which is about consumerism, identity and fashion.

I would like to take the people behind the remake of the film The Taking of Pelham 1 2 3 to the Donmar Warehouse theatre in London to see A Streetcar Named Desire.

Is it a hotel, a shopping mall, or an art installation? Or is Blow Up Hall actually one of those curious optical illusions, all black-and-white lines and squares, where reality mutates unexpectedly out of the corner of your eye?

The home I grew up in ... was a removal van: my father was always going broke.

Former PM Tony got a rich and rare audience tonight at the Museum of Modern Art in New York for a "conversation" with Graydon Carter, the wild-haired, most congenial Editor of Vanity Fair.

Some people hold on to it, but the typewriter, the old manual, is almost gone from our hands and our lives. We went electric, then word-processor, then laptop. In the process, the gap widened from finger to mark. Tangible paper has turned into intangible screen (and ink need never emerge at all). Yet, in the meantime, we still haven't thrown away our pens. And so on our desk today there lies an open chasm: between pure handiwork and the cleanest mechanisation.

Walter Neurath and Eva Feuchtwang met in London during the Second World War. They had both fled Nazi Europe and they shared a passion for art and design. When they met they were both married to other people but Walter and Eva became friends, colleagues, then lovers before they married one another in 1950, a year after they had co-founded the publishing house Thames & Hudson. With offices in London and New York, their company was named after the main river in each city. Their aim was to produce well-illustrated, well-written books on art, painting, architecture and sculpture. Walter wanted their venture to be a "museum without walls", a way of bringing art to the masses at a price they could afford.

Art exhibitions without exhibits are nothing new. Nothing has been a recognised art form for half a century. But the Centre Georges Pompidou in Paris can claim a cultural first this week: a retrospective exhibition of 51 years of exhibitions without exhibits by nine different artists. How can a museum retrospectively exhibit nothing? With great care. The 500-page catalogue costs €39 (£34).

It is a wonderful joke. It is folk art, like maypoles and cheese-rolling. It is a celebration of our history. It fuses the art of Magritte with that of the great 18th century painter George Stubbs. It is a patriotic symbol, which will remind those who arrive in Britain aboard the Eurostar of this island's glorious past.