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.”

The resolute materiality of painting continues to attract artists, says Painter Painter co-curator Eric Crosby. “It’s a vivid contrast with our daily routine, where we experience so many images by using a cursor. Painting resists this kind of experience,” he adds. “A lot of artists today embrace that notion, going where the materials take them, not where the history of painting tells them to go.”

Mexico City–based artist Francis Alÿs is skeptical whether democracy—like faith—can be “exported” around the world. It’s one of the themes of his project When Faith Moves Mountains (2002-2003), which is part of the Walker’s permanent collection.

“Non participation,” say Karen Mirza and Brad Butler of the central idea in their upcoming Walker exhibition, is evident “when, for example, people encounter something they believe is valid or necessary—say, homelessness, the right to protest, the Iraq War—but in that simultaneous moment they ignore it or reject it.” In a new interview, the UK-based duo discusses their approach to art and resistance.