Throughout February, Allen Rupersberg’s art is on view on a giant billboard beside New York’s High Line. Can’t get up close to see it? The 18 brightly colored posters in You & Me are similar to those in the artist’s interactive piece in our show The Living Years.

Jenny Holzer on her breakthrough moment: “Putting up anonymous street posters around lower Manhattan. Dan Graham, an artist I admire, noticed them, talked to people about them, and finally figured out that I was the person doing them. So thank you, Dan.”

Pepsi’s Super Bowl commercial featuring a guy duct-taped to the ceiling struck Paul C. Ha, director of MIT’s List Center, as familiar. It’s a lot like Maurizio Cattelan’s A Perfect Day (1999), in which he duct-taped a Milan gallerist to the wall.

Artist Carl Andre, 77, on Conceptualism: “I think it is humbug myself. That is my own private opinion… I just don’t believe in Joseph Kosuth’s slogan ‘art as idea as idea’—if it is an idea it has never entered the world.”

Creative Time announces its new Global Residency artists, who’ll be funded to travel to “explore a burning question that cannot be fully pursued in the studio.” 2013 recipients include Theaster Gates, who’ll travel to Haiti, and performance artist Suzanne Lacy.

A new Ai Weiwei collaboration was unveiled at last week’s Art Stage Singapore: a series of round sculptural likenesses of the artist created by Hong Kong-based toy designer Eric So. The title: Aibudao, which translates to “unlovable” in Chinese.

Alec Soth, whose Walker show From Here to There: Alec Soth’s America is on view at the Cranbrook Museum of Art, discusses photographing the “crazy carnival” of North Dakota’s oil boom for this week’s New York Times Magazine cover in an audio slideshow.

An Orlando family may face a $500/day fine for planting veggies in their front yard. At the crux of such battles, says artist Fritz Haeg, who’ll be doing the same in the Twin Cities this year, is a rethinking of “our basic value systems and ideas of beauty.”

For Sunday’s Silver Action event at the Tanks at Tate Modern, artist Suzanne Lacy brings together 400 women over age 60. The hook: titans of 20th century political protest, they’ll gather for “a live, unscripted performance about ageing and activism.”