“Much of the show’s effervescence stemmed from the productive tension between Celant and Gagosian’s monographic agenda, with its drive to glorify a singular figure and enforce his authorial predominance, and Manzoni’s own project, which effaces authorship by supplanting artistic intention with material contingency and individual conception with dialogue.” — Jaleh Mansoor
A previous survey was mounted by the Serpentine Gallery, London, in 1998. The catalog, from Charta (Worldcat), was edited by Celant with contributions from Jon Thompson. It was reviewed by Barry Schwabsky, Artforum, Gavin Turk, Frieze, and Frances Morris, Burlington Magazine
In 2004, Skira published a catalogue raisonne with text by Celant, Scatturin and Silvia Mascheroni. See also Mansoor, “Piero Manzoni: ‘We Want to Organicize Disintegration,'” October 95 (winter 2001), Stella Santacatterina, “Piero Manzoni: Art as Reflection on Art,” Third Text 13:45 (winter 1998), and Gerald Silk, “Myths and Meanings in Manzoni’s Merda d’Artista,” Art Journal 52:3 (autumn 1993).