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Wes Anderson and Juman Malouf in the Kunsthistorisches Museum, Vienna. Courtesy: Kunsthistorisches Museum, Vienna

Art Review’s annual ‘Power 100’ list was published today. As well as the usual gallerists, curators and prominent artists, this year’s list included #metoo, coming in third place. (In news less celebratory for the viral movement, Collins announced its word of the year: ‘single-use’ pipped ‘metoo’ to be crowned 2018’s winner.) We look back at three articles responding to the Watergate moment for sexual harassment: here’s Miya Tokumitsu’s piece calling for the democratization of the art world’s workplaces; Phoebe Cripp’s piece from February asks what Audre Lorde's language of self-care can teach us after #MeToo and Jessica Hopper wonders how we should view some of music’s most celebrated sexists.

The ‘blue wave’ hit US shores this week, with Democrats regaining control of the House of Representatives in the midterm elections. In our post-truth age, Dan Fox sneaks around ‘Art & Conspiracy’ at the Met Breuer, New York and don’t miss legendary filmmaker Alexander Kluge’s short story about Donald Trump.

Prolific documentary filmmaker Frederick Wiseman's 42nd film Monrovia, Indiana was released this week, and reviewed by Sierra Pettengill. We look back to Nick Pinkerton’s piece on the filmmaker’s 2014 documentary on London’s National Gallery.

The much anticipated show curated by Wes Anderson along with his artist and writer partner Juman Malouf opened at Kunst Historisches Museum, Vienna this week. Read Steven Stern’s piece on watching The Royal Tenenbaums (2001) after 9/11.

Shanghai Art Week kicked off on Thursday. To mark the occasion, a giant, psychedelic cat was installed near the Art021 fair. Made by artist Cheng Ran, read En Liang Khong’s profile on the Chinese artist, from 2016.

Elsewhere in Shanghai, with Indian artist Nalini Malani’s solo show ‘Can You Hear Me?’ opening at Arario, read Debra Lennard’s review of a 2016 exhibition of the artist’s work at the Institute of Contemporary Art, Boston. And over at MadeIn Gallery, with Miao Ying’s ‘Stones from Other Hills’ opening, read Gary Zhexi Zhang’s piece on postinternet aesthetics, which places the young Chinese artist’s work in the context of online culture inside the Great Firewall. Read our Critic's Guide to the best shows currently on in Shanghai over here.