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.

Glenn Beck—yes, he’s still around—has made his own Andres Serrano-style artwork by photographing an Obama toy in a jar of beer (initially he claimed it was urine). It’s his reaction to an artist who painted an image of the president crucified.

Glenn Ligon and Coco Fusco are among the 800+ signers of a petition to the NY Times criticizing Ken Johnson’s writing: “Using irresponsible generalities, Johnson compares women and African-American artists to white male artists, only to find them lacking.”

On the centennial of Tony Smith’s birth, Big Red & Shiny looks at the Minimalist sculptor’s 1965 work Amarylis, a version of which was reinstalled last week outside the Wadsworth Atheneum. The 7,000-pound sculpture, made of painted Cor-Ten steel, was created in an edition of three: the Wadsworth and the Met each own one, while […] On the centennial of Tony Smith’s birth, Big Red & Shiny looks at the Minimalist sculptor’s 1965 work Amarylis, a version of which was reinstalled last week outside the Wadsworth Atheneum. The 7,000-pound sculpture, made of painted Cor-Ten steel, was created in an edition of three: the Wadsworth and the Met each own one, while the Walker owns the third, which is on view in the Minneapolis Sculpture Garden. BR&S’s John Pyper…

Irked by skyrocketing art prices—like last month’s sale of a Gerhard Richter for $34.2 million—critic Jerry Saltz put out an open call last winter: Make a fake Richter, Ryman, or Hirst, and he’d buy it for $155. Stanley Casselman delivered.

Santiago Sierra says he created the “world’s largest graffiti” in Algeria last month. With Artifariti and Frente Polisario, he carved the letters S.O.S. —1.7 km high and 5 km long—into the earth near camps where Sahrawi refugees have struggled since the 1970s.

Bad at Sports digs up a copy of Dan Greenburg’s 1969 book Porno-Graphics: The Shame of Our Museums, an interactive book that covers up nudity in great artwork, allowing readers to pull a lever to expose flesh in art like Duchamp’s Nude Descending a Staircase.