– Jay-Z's Former Business Partner Joins Lower East Side Gallery Scene: Roc-a-Fella Records co-founder Damon Dash, who shuttered his Tribeca gallery and DIY think tank DD172 last summer, will launch his latest art space on gallery-filled Orchard Street later this month. Opening at 60 Orchard on September 27 with a street art group show including works by Jim Joe, Katsu, and Beau, the new gallery, named Poppington, will be a few doors up from Lesley Heller Work Space, Scaramouche, and across the street from fellow transplant McKenzie Fine Art. [BoweryBoogie]

– Hirst Sets Box Office Records in London: Despite being panned by critics, Damien Hirst's first major exhibition in 20 years smashed box office records at the Tate Modern, attracting almost half a million visitors in five months. The 463,087 visitors — which equals about 3,000 a day — made Hirst's the most visited solo exhibition ever held at the gallery, ahead of Edward Hopper in 2004 and Gauguin in 2011. It is also the second most visited exhibition in the Tate Modern's history, after the joint Matisse/Picasso show in 2002. [ARTINFO UK, Standard]

– Linda Yablonksy Curates a Movie Set: "Arbitrage," a new movie about an art-savvy hedge-fund kingpin's affair with a young French gallerist (played by Richard Gere and Laetitia Casta), brought in the big guns when it came time to select artworks for the set walls: Linda Yablonsky. The art critic, who served as a consultant on the film, installed millions of dollars' worth of art in the characters' apartments, including works by Brice Marden, Laurie Simmons, Adam McEwen, and Ryan McGinley. "When we were done installing, I thought this was a really great show," she said. "It's too bad it's not in a gallery." [WSJ]

– MoMA Will Show Record-Setting "Scream": The Museum of Modern Art announced today that it will show the version of Edvard Munch's "The Scream" that collector (and MoMA board member) Leon Black purchased at Sotheby's in May for $119.9-million, making it the most expensive artwork ever sold at auction. The prized pastel will hang alongside prints by the Norwegian artist from the museum's permanent collection from October 24 until April 29, 2013. [Press Release, ITA]

– Berlin's Old Masters Dispute Could Cost City Modern Art Gift: A battle over the fate of Berlin's Old Masters collection, which was to be removed from the city's Gemäldegalerie to accommodate a gift of modern art masterpieces worth $190 million from collectors Heiner and Ulla Pietzsch, may end up costing the city the latter treasure trove. The Pietzschs promised their 150 Surrealist and AbEx works to Berlin on the condition that they be exhibited in one of its museums, but with the city strapped for exhibition space, it's now in danger of losing the entire collection. [WSJ]

– David Roberts Opens New Art Center: Property developer and art collector David Roberts is opening a new art center inside a 12,000-square-foot former furniture factory in northwest London. The cavernous space will hold larger acquisitions that don't fit in his 3,000-square-foot public gallery in Fitzrovia. The opening exhibition features works by Damien Hirst, Louise Bourgeois, Matthew Day Jackson, and Thomas Houseago, as well as lesser-known artists such as Kris Martin, Keith Coventry, and Rebecca Warren. [Telegraph]

– Vanity Fair Stops Pollock Sale: Jackson Pollock's "Red, Black & Silver," which was to serve as a centerpiece of Phillips de Pury's September 20th sale, was removed just one week before going under the hammer in order to undergo additional provenance research. Doubts about the authenticity of the painting — which belonged to Pollock's late mistress Ruth Klingman — arose in part from an article in Vanity Fair. The auction house plans to offer the painting again at a later date after its been vetted more thoroughly. [Vanity Fair]

– Reading the Tea Leaves at L.A. MOCA: Critic Christopher Knight suggests that billionaire collector Eli Broad may supplement his uneven collection with that of L.A. MOCA when his private collection museum opens across the street. During his bailout negotiations with MOCA in 2008, Broad demanded a formal loan arrangement as part of the deal. Though he eventually dropped the request due to resistance from MOCA's donors, Broad's influence now "likely makes the absence of a formal arrangement moot," says Knight. [LAT]