On the second anniversary of his time spent in prison, the Chinese artist parades around a foggy jail cell with two oversexed young guards, and even does a little drag.

Watch it here.

The subtle lyrics, which can be published by few news organizations, are:

Dumbass (Explicit)

When you're ready to strike, he mumbles about non-violence.
When you pinch his ear, he says it's no cure for diarrhea.
You say you're a mother-fucker, he claims he's invincible.
You say you're a mother-fucker, he claims he's invincible.
Fuck forgiveness, tolerance be damned, to hell with manners, the low-life's invincible.
Fuck forgiveness, tolerance be damned, to hell with manners, the low-life's invincible.
Oh dumbass, oh such dumbass! Oh dumbass, oh such dumbass!
Oh dumbass, oh such dumbass! Oh dumbass, oh such dumbass!
Lalalalala, lalalalala Lalalalala, lalalalala
Lalalalala, lalalalala Lalalalala, lalalalala

Stand on the frontline like a dumbass, in a country that puts out like a hooker.
The field's full of fuckers, dumbasses are everywhere.
The field's full of fuckers, dumbasses are everywhere.
Fuck forgiveness, tolerance be damned, to hell with manners, the low-life's invincible.
You say you're a mother-fucker, he claims he's invincible.
You say you're a mother-fucker, he claims he's invincible.
The field is full of fuckers, dumbasses are everywhere.
The field's full of fuckers, dumbasses are everywhere.

Twitter is already calling it the most dangerous music video ever made, and Ai the greatest punk dissident in history. And what do we think of Ai Weiwei's debut as a music video star?

• BY LEMUEL CHARLEY At Wing Luke Museum.

Charley, as you'll see in the video below, grew up on a Navajo reservation during a time of land disputes between the Hopi and the Navajo. He became an Army paratrooper and heavy equipment engineer serving in the first Gulf War, Bosnia, and Haiti. Now he's an artist.

Scroll to 1:20 to hear how Charley learned that a gun barrel gets hot:

Charley's road sign is part of Under My Skin: Artists Explore Race in the 21st Century at the Wing Luke Museum.

• Courtesy of Henry Art Gallery
• Sanctum is reading his "soft biometrics" right there.

Before the Boston bombing—before surveillance first saved the day and then re-terrified us when a phone conversation between the bomber and his wife was revealed to have been recorded because every phone call period is being recorded by the government now—two technology artists at the University of Washington created an artwork that profiles people who walk by it 24 hours a day. The art piece, called Sanctum, is as innocent as warm pie compared to the National Security Agency. It opened May 4, projected on the facade of the Henry Art Gallery. The museum commissioned it; it will run for two and a half years. Before that, it spent two years in development, artists James Coupe and Juan Pampin not only building and programming its system, but consulting with lawyers and UW's Office of Risk Management to make sure Sanctum wasn't violating whatever remaining privacy we have in public places.

You activate Sanctum.

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In the new Rain Room installation at the Museum of Modern Art in New York, there's a room where a big pretend storm is dumping hundreds of gallons of water per minute. None of this water will fall on you as you walk through it because sensors detect human bodies and give each one a 5-foot berth. Unless, that is, you wear a raincoat:

In order for the technology to work most effectively, visitors are discouraged from wearing dark, shiny, reflective fabrics, fabrics made of raincoat material, or skinny high heels.

I don't think I'd be able to go in there without hoping for a malfunction.

• Ginny Ruffner's painted glass sculpture of a water cycle on display inside Traver Gallery, with the rainy bars of Doug Aitken's video installation MIRROR running on the northern facade of Seattle Art Museum across the street.

I've been vocally unmoved by Doug Aitken's big new video installation on the facade of Seattle Art Museum, called MIRROR.

But yesterday the rain was coming down outside, and I was visiting the new exhibition at Traver Gallery by Ginny Ruffner, the most exuberant and kindly artist who ever graced the grounds of this rainy city, and what you see above appeared before my eyes, and I was glad. I had forgotten that MIRROR is not limited to its more narrative/decorative/flashy displays on the western facade of SAM—it also turns the corner and extends into these skinny little rain bars best seen up inside Traver Gallery. It was a good moment.

All I can say is that Bea Arthur deserved better.

(h/t Todd)

I don't know who's painting these portraits on the Burke-Gilman Trail, but I kind of like them.

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