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.

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.”

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.