Andy Sturdevant explores indie art shop signage: “These handmade signs tell you a great deal about the place you find them, and about the people that made them. They value spontaneity, humor and independence over order, stodginess and faceless efficiency.”

Visitors to the UK’s Farnborough Airport can now add contemporary art to their duty-free shopping. Organized by Artliner, the show is “tendered to the lifestyle of the clientele.” Art by Damien Hirst and others will be on sale until December.

Drone warfare has become a source of scrutiny for artists including Trevor Paglen, Omer Fast, and James Bridle. Documenting drones-eye-views and locations of strikes, these works “make the reality of the daily occurrence of deadly drone strikes more tangible.”

After Sandy, “the art community did more than embrace its own,” writes Robin Cembalest. “[I]ts members set out to marginalized neighborhoods, helping with the recovery effort and going door-to-door inside powerless housing projects with food and supplies.”

For the first time, St. Petersburg’s Hermitage is exploring contemporary art following an initiative to explore work from the 20th century and beyond. Over the next few months the Hermitage will feature a range of new art including 3-D and conceptual work.

A flash protest featuring a Henry Moore lookalike and supporters dressed as the now controversial sculpture is the newest movement against the sale of Moore’s Draped Seated Woman. Despite protests, plans are still in place for a public auction in February.

The New School’s first Vera List Center Prize for Art and Politics goes to Theaster Gates. His The Dorchester Projects transformed a series of run-down buildings on Chicago’s South Side into a thriving community hub.

On his LA MOCA show Destroy the Picture: Painting the Void, Paul Schimmel states, “As much as you think of wars as things that destroy culture, one can see again and again in the exhibition that out of destruction comes rebirth.”

Takashi Murakami is suing New York gallerist Marianne Boesky over her reuse of his Cosmos wallpaper. He says she broke the strict terms of an editioning agreement by reproducing the work for other uses, including a loan to the Met.