Exhibition of the week

Terrace art
Mark Leckey and others watch the casual football subculture.
Walker Art Gallery, Liverpool, 5 November-12 March

Also showing

Turner on tour
Two majestic European scenes by JMW Turner on loan from the Frick Collection in New York.
National Gallery, London, until February 19

An investigation into how money has been altered or destroyed as protest and art, from suffragettes to Banksy.
Fitzwilliam Museum, Cambridge, until January 8

John Currin
The grotesque and the beautiful intertwine in Currin’s perversions of Renaissance art.
Sadie Coles HQ, London, until November 26

Amy Sherald
A recreation of the VE photo of a kissing couple in New York is among Sherald’s final essays on portraiture and history.
Hauser & Wirth, London, until December 23

Picture of the week

White Disaster (White Car Crash 19 Times) by Andy Warhol, 1963. Photography: Sotheby’s

Andy Warhol’s White Disaster (White Car Crash 19 Times) is expected to reach $80 million when auctioned in New York later this month. The 12ft by 6ft screen-printed canvas, part of Warhol’s Death and Disaster series, has not been seen in public for 15 years. Experts say the work’s elevation of macabre accident is tied to the artist’s Catholicism and is meant to invoke awe and reverence.

What we learned

Francis Bacon nearly lost an eye after a drunken fight with his lover

A man was jailed after sticking his head to Girl with a Pearl Earring

The authenticity of a Vermeer painting caused a transatlantic standoff

A Mondrian painting has been hanging upside down for 75 years

Unpublished work by New York photographer Saul Leiter has been discovered

Australian painter Nicholas Harding and Norwegian artist Christopher Rådlund is dead

Rembrandt sketch described as ‘rough imitation’ turned out to be genuine

Head On photo festival returns to Sydney

masterpiece of the week

Execution of the Conspirators in the Gunpowder Plot (1606) by Claes Jansz Visscher.
Photograph: Trustees of the British Museum

Execution of the Conspirators in the Gunpowder Plot, 1606, by Claude Jansz Vischer
Remember, remember – as Britain’s Bonfire Night gradually becomes less of a Protestant ritual, this drawing connects us to its origins. The annual commemoration of the failed Catholic Gunpowder Plot and arrest of Guy Fawkes in the fall of 1605 was established by law the following January with the passage of the November 5 Observance Act . This drawing shows the atmosphere of terror and violence in which this official holiday was invented. Here, some of the convicted plotters are dragged through the streets, hanged until they are almost – but not quite – dead, then gutted and dismembered, their limbs and entrails thrown into the fire. This is an accurate visual interpretation of what “hanged, pulled and quartered” meant for high treason. Visscher not only shows the details of this terrible rite, but its popularity: a respectfully attentive crowd of well-dressed women and men watch, while children play amid smoke and blood. Just like Bonfire Night.
English Museum

do not forget

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