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.

Looking back on the evening of Thursday 30th May, when Minouk Lim in collaboration with Minneapolis-based choreographer Emily Johnson presented the performance FireCliff 3 in the Walker’s Burnet gallery, it is rather difficult to recall the intricacies of the piece. This is made ever more complex by the fact that I was privy to its […] Looking back on the evening of Thursday 30 May, when Minouk…

A new city panel assessing graffiti in Toronto has approved certain existing street-art sites, including the legendary Graffiti Alley, but some oppose the panel: “Even if it’s Picasso,” says Elyse Parker, “you’re not allowed to paint on other people’s walls.”

MoMA’s conservation team has begun conducting workshops alongside the American Institute for Conservation to aid not only artists and galleries in handling water-damaged works, but also those affected by Hurricane Sandy with waterlogged keepsakes.