Turner winner Elizabeth Price says her career would’ve been impossible without education and public funding— both of which are imperiled in the UK. She fears art will become “available only to privileged people, and expressive only of that experience.”

A day after Theaster Gates was named one of 50 new USA Fellows, BR&S runs a Q&A with Gates on his dOCUMENTA (13) project, 12 ballads for Huguenot House, which he says is about “the possibility of culture in abandoned spaces.”

The Brooklyn Museum of Art’s current exhibition, Materializing “Six Years”:  Lucy Lippard and the Emergence of Conceptual Art, explores the impact of Lucy R. Lippard’s groundbreaking 1973 book Six Years and the development of the era’s highly influential conceptual art scene. In addition to works by 90 artists–including Vito Acconci, Eleanor Antin, and John Latham–the […] The Brooklyn Museum of Art’s…

In the years before Roe v. Wade passed in 1973, a trio of activists received a flood of letters from people seeking a list of doctors who provided safe abortions. Recognizing the continuing significance of the work of Rowena Gurner, Patricia Maginnis, and Lana Phelan—dubbed the Army of Three—Andrea Bowers began an activist project of her own, carefully copying the letters by hand, word-for-word.

Artists, museums, and public art groups are increasingly looking to veterans—both to tell stories of war and as valuable audience members. Efforts range from Nina Berman’s photos of disfigured vets to a listening station staffed by veterans in Times Square.

Three outside curators have been tapped to curate the 2014 Whitney Biennial. Stuart Comer (Tate), Anthony Elms (ICA Philadelphia), and Michelle Grabner (Art Institute of Chicago) will be advised by WhiBi 2012 curators Elisabeth Sussman and Jay Sanders.

Teresa Margolles, whose work has viscerally addressed drug-related crime in her native Mexico, has been named winner of this year’s Artes Mundi prize. Judges of the £40,000 award cited “the sophistication of her work in confronting an ongoing human tragedy”.

Slate style columnist and longtime Barney’s window dresser Simon Doonan offers theories on “why the art world is so loathsome.” In his sights: Art Basel Miami, “the growing mania for melanging fashion with art,” and the art world’s coziness with one-percenters.

The Blue House in Mexico City is offering a new way to see Frida Kahlo’s life and art—through an exhibition of her prosthetic legs, dresses, and corsets, including one similar to the back brace she wore in her self-portrait The Broken Column.