“I’ve never trusted art,” says Llyn Foulkes, whose “unfiltered and so unpretentious” art caught the attention of Hammer Museum curator Ali Subotnick. The Los Angeles museum is hosting a career retrospective of the artist and musician through May.

The LA County Museum of Art has made a formal proposal to take over financially troubled MOCA. In a Feb. 24 letter, MOCA officials said the proposed deal would keep the two downtown venues open under the MOCA name.

A new top-10 list by Abraham Cruzvillegas—whose show The Autoconstrucción Suites opens at the Walker Mar. 23—points out cultural moments from Werner Herzog’s The Great Ecstasy of Woodcarver Steiner (1974) to Mexico’s Stridentism movement, launched in the 1920s.

Scholar, critic, translator, and poet Thomas McEvilley has passed away at age 73 from complications of cancer. A prolific author, he penned numerous volumes including 2010’s Yves the Provocateur: Yves Klein and Twentieth-Century Art.

“It’s hard to stay within the rectangle,” says Molly Zuckerman-Hartung of her art, which she describes as deconstructed painting. “I had to unlearn everything I was doing to get to riskiness or spilling or pouring or mistakes or accidents or any of the stuff that looks so naturalized in the work now.”

“This idea of repetition and revision is central to my process—this idea of stacking and layering and building up densities and recoveries,” says Ellen Gallagher, whose work is in our collection. A fitting way to look at her work? The repetitive GIF format!

Coinciding with his new show in Paris, Ron Mueck, whose hyperrealistic art is on view in our show Lifelike (opening Friday at the Museum of Contemporary Art, San Diego), is the subject of a new film by Gautier Deblonde, who documents the reclusive artist at work.

Artists and designers from John Baldessari to Manolo Blahnik have donated works to the Royal College of Art’s secret postcard sale next month. For one day, art can be purchased for £45. The catch: you won’t know who made it until after money changes hands.

An award-winning photo by Magnum’s Paolo Pellegrin doesn’t depict what the caption says it does, writes Michael Shaw, who sparks a discussion in comments and elsewhere about representation, captions, and plagiarism.