News from the world of interventionist art:"Otherwise known as reverse shoplifting, shopdropping involves surreptitiously putting things in stores, rather than illegally taking them out, and the motivations vary. Anti-consumerist artists slip replica products packaged with political messages onto shelves while religious proselytizers insert pamphlets between the pages of gay-and-lesbian readings at book stores. Self-published authors sneak their works into the “new releases” section, while personal trainers put their business cards into weight-loss books, and aspiring professional photographers make homemade cards — their Web site address included, of course — and covertly plant them into stationery-store racks."
The photo here shows, at a Whole Foods in New York, Jen Armstrong and Ryan Watkins-Hughes stocking a shelf with cans carrying art-infused labels.
Somewhat related is the droplift project.
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"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
