Campbell Soup Company is taking Warhol-mania one step further with its “Pop Art Portraits.” A new Facebook app turns profile photos into Warholian silkscreens, which—according to the company—could end up as Campbell’s official cover photo.

DC’s Contemporary Wing, a 14th street modern art gallery, is will welcome a giant “civil-rights themed installation” by French graffiti artist JR. This will mark his first project in Washington and will be based on the Memphis Sanitation Workers’ Strike of ‘68.

From Chris Ofili’s Blessed Virgin Mary to the anti-Muslim film that sparked riots across the Muslim world, images of the sacred “have generated intense conflict,” write the authors of The Color of Christ: The Son of God and the Saga of Race in America.

Kehinde Wiley’s World Stage aims to “chart the presence of black and brown people” globally, but Orlando Reade finds its Israel section “superficial, almost naive,” considering its failure to address concerns about the treatment of Africans there.

Around 11% of works in the Museum of Fine Art’s collection are by women, a fact the Guerrilla Girls are protesting with a new billboard truck recently parked in front of the Boston venue. It reads: “Do women have to be naked to get into Boston museums?”

“All these women’s works show how art gives women a voice denied them by the society in which they live.” The Telegraph profiles artists featured in a new Saudi exhibition that demonstrates the growing presence of modern art—and women’s art—in the country.

Chances are slim that Ai Weiwei will be able to attend the opening of his big Hirshhorn survey next month. “They’re still holding my passport,” he says of Chinese authorities. “They said they want to give it to me but have no clear time schedule for that.”

Photoblogger Jörg Colberg and artblogger Carolina Miranda (C-Monster, Time) have a thoughtful back-and-forth on whether the news media should show pictures of the dead, like the body of the late ambassador Christopher Stevens. Follow the links.