Richard Artschwager, whose Brush Blp (among other works) is in the Walker collection, has passed away at age 89. Known for art that defies easy categorization, his paintings and sculptures included elements from Pop and Minimalism.

A hacker on Friday released photos purported to be paintings by George W. Bush—and critic Jerry Saltz loves them. “They are ‘simple’ and ‘awkward,’” he writes in response to a Gawker review, “but in wonderful, unself-conscious, intense ways.”

Three summer shows dedicated to James Turrell—whose art includes the Walker’s Sky Pesher—started out as an idea for a touring exhibition, but the scale of his built light environments suggested different venues (LACMA, MCA Houston, and the Guggenheim) instead.

His ousting at MOCA and Mike Kelley’s death have opened up a new world for Paul Schimmel, chair of Kelley’s foundation: Artists’ foundations, he writes, will become “among the most important not-for-profit institutions to directly support the arts.”

To celebrate the 150th anniversary of the London Underground, artist Mark Wallinger has completed the “largest art commission ever.” He’s created 270 unique 2-D mazes, one for each stop in the city’s labyrinthine subway system.

There’s more to the woman in Gustav Courbet’s The Origin of the World, which depicts a closeup of a nude torso: A leading Courbet expert has authenticated a recently discovered companion painting to the erotic 1866 work—and it depicts the woman’s head.

Throughout February, Allen Rupersberg’s art is on view on a giant billboard beside New York’s High Line. Can’t get up close to see it? The 18 brightly colored posters in You & Me are similar to those in the artist’s interactive piece in our show The Living Years.

Jenny Holzer on her breakthrough moment: “Putting up anonymous street posters around lower Manhattan. Dan Graham, an artist I admire, noticed them, talked to people about them, and finally figured out that I was the person doing them. So thank you, Dan.”

Pepsi’s Super Bowl commercial featuring a guy duct-taped to the ceiling struck Paul C. Ha, director of MIT’s List Center, as familiar. It’s a lot like Maurizio Cattelan’s A Perfect Day (1999), in which he duct-taped a Milan gallerist to the wall.