A public art revolution is brewing in St. Paul, where the city has brought in privately funded “city artists” to work alongside public servants. Public Art Review chronicles how these artists explore creative forms of “placemaking” and civic engagement.

Armored police forcibly evicted protesters occupying Tadashi Kawamata and Christophe Scheidegger’s Art Favela at Art Basel Friday. About 100 people were protesting the “decadence of including a slum setting as part of one the world’s biggest art fairs.”

Latitudes reviews the ubiquitous totes of the Venice Biennale, from the Tucano-designed official bag (“its uncompromising blackness” has a “vital rather than dour spirit”) to the bag for Jesper Just’s Danish Pavilion (“Charismatic artist. Woeful tote”).

“Growing up Quaker, [James Turrell] was always being told to nurture ‘the light within,’” writes Wil S. Hylton just as a three-museum survey of the artist’s career is set to launch. “At 70, he seems more interested in the light without.”

“The Now is the only reality we will ever have,” whispers Marina Abramović as she discusses her next piece. Requesting six hours of time upon entering, visitors are contractually bound by Abramović to enter a sensory, energy-exchanging experience.

A new video reportedly shows Richard Prince burning one of the “Canal Zone” paintings at the center of a (largely unsuccessful) copyright infringement suit against him by photographer Patrick Cariou. “To them it represents money,” he said before torching the work.

In an interview with ROLU’s Matt Olson, Chris Larson discusses his Northern Spark work—a cardboard and 2X4 Marcel Breuer home to be burned at midnight—and its link to a temporary architectural sculpture constructed at the Walker in 2011.