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.

To complement RISD’s 150-year survey of landscape photography, Andy Adams curated a selection of works showing new approaches to documenting “land”: “Wilderness is a foreign concept. Our environment has been significantly altered. We live with nature at arm’s length.”

Last year, China overtook America as the world’s largest auction market—with sales around $12 billion for 2011. As competition among Chinese buyers grows and Sotheby’s prepares for its next sale, all auction eyes are pointed towards the country.

Shock of the News, the new National Gallery of Art show, features artists who manipulate newspapers in their art, from Jim Hodges’ gold-gilded edition of a Jordanian paper to Marine Hugonnier’s collaged homages to Ellsworth Kelly.

Over a year after Clara Kim left as REDCAT’s director to become senior curator at the Walker, the LA art center has a new head: Ruth Estévez, the Mexico City–based former chief curator of the Museo de Arte Contemporáneo Carrillo Gil, starts in November.

The Smithsonian Museum of American Art has started a Twitter feed for a Nam June Paik artwork. Dubbed Paikbot, the 1992 piece—an assemblage of audio-video components—is tweeting about its own conservation, but promises more on “Paik, video art + robots” soon.