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The man who plowed a pickup truck down a crowded bike path in New York is so devoted to ISIS, he wanted to display the terror group's flag in his hospital room, documents show.Sayfullo Habibullaevic Saipov, 29, did not say much at his initial court appearance, which he attended in a wheelchair after police shot him.But a criminal complaint alleges he provided authorities with details on how he planned the attack for months and his commitment to the ISIS playbook. 475

The Olmsted Locks and Dam project, located on the Ohio River between Illinois and Kentucky, has taken 30 years and billion to complete.  But after three decades, the project is slated to be operational in October.The engineers and workers behind the development say the investment is worth it."The Ohio flows into the Mississippi 16 miles downriver from us, and then it's open passage all the way down to New Orleans and into the ocean,” explains Mick Awbreyk, the Army Corps of Engineers deputy chief for the Olmsted Division. “There is no locks and dams from the Olmsted to the ocean."He says the innovative details that went into the project are “phenomenal and truly world class.”Awbreyk will see the opening of the project, which began in 1988.So, why has it taken so long to complete?“The nature of the project; a lot of different things have led to the duration,” explains Awbreyk of the timeline. “One: it hasn't been fully funded until calendar 2013, fiscal years 2014 and that’s the nature of civil works projects."The dam crosses one of the busiest shipping lanes in the United States. Awbreyk says about 91 million tons of goods on average come through the area per year.“The equivalent of 25,000 semi-trucks worth of cargo passes through this site every year,” says Awbreyk. “You can imagine the wear and tear on the interstates and the highways that would have an extra 25,000 vehicles that will be on there per day."The project's price tag has grown to around billion. Workers here say it's money Americans will see come back to them."It’s widely important. The return on investment on this particular project is 0 million per year to the nation,” says Awbreyk. “That’s a net number, so ultimately it’s a little under a billion price tag; it will pay for itself in five years.” 1817

The handwriting is on the wall: Sears appears to be nearing bankruptcy.One of Sears' major shareholders just dumped a chunk of his stock for pennies on his original investment. The company added a new director who is familiar with bankruptcies and restructuring. Reports circulated that the company is talking to advisers and banks in preparation for a bankruptcy filing.Sears Holdings, the parent company of Sears and Kmart, faces an October 15 deadline to pay 4 million on its debt. CEO and primary shareholder Eddie Lampert told the company's board that it was crucial it restructure more than billion it owes "without delay," according to a recent regulatory filing. 684

The National Aeronautics and Space Administration says it will pay up to ,000 for lunar rocks from a company that will help mine the moon for resources.In a tweet, NASA Administrator Jim Bridenstine said that the agency is "buying lunar soil from a commercial provider! It’s time to establish the regulatory certainty to extract and trade space resources." 367

The Pennsylvania Academy of the Arts, or PAFA, is the nation’s oldest art school and museum but it’s facing a new dilemma: what to do with an artist’s work when the artist is accused of sexual misconduct.                                                                                                                                                                       The artist in question is portraitist Chuck Close. He may not be a household name to you and I, but in the art community he’s huge. He’s considered a pioneer of portrait work who rose to prominence in the 1960s who made a name for himself in the way he incorporated photography within the world of painting.But this past December, four female models accused the artist of sexual harassment, claims the Close denied in an interview with the New York Times. Close, through a rep, declined our request comment.Brooke Davis Anderson, PAFA’s museum director, had a tough call to make: what to do with a high-profile exhibit, on view in one of their most prominent galleries, filled with Close’s work.“I’m very hesitant to censor artwork,” Anderson said. She and the museum executive leadership convened their art community of students, staff, and patrons to gauge the reactions to try to fiigure out ho to handle the exhibit.“We really asked everybody what they were feeling, thinking, how they were responding,” Anderson said. “How they felt we should respond as an institution, and collectively what this meant for us.”The broader discussion is not all that new. You may recall that a few years back, “The Cosby Show” was pulled from syndication following allegations made by a slew of women against its star and creator Bill Cosby. It’s since made a slow re-emergence on small cable networks.In the past year, we’ve had to ask ourselves whether we as a society are comfortable enjoying re-runs of “Louie” on FX in the wake of comedian Louis C.K.’s admitted mistreatment of women. Or what about previous seasons of “House of Cards” now that allegations regarding Kevin Spacey have come to light?Even Pablo Picasso was known to have mistreated the opposite sex.The obvious question becomes: can an artist’s work be separated completely form the artist and their personal decisions?[,We asked Melissa Joseph and Candace Jensen, both students at PAFA who took part in the museum’s forum on what to do with the Close exhibit. “That’s like the zinger question!” Jensen said, through laughter.“Many students did want the [Chuck Close] show to come down,” Joseph added. “You just want it to go away, you know? You don’t want to have to look at it anymore.”But, she says, over a few weeks’ time her views evolved.“If you think about what’s going to be most productive for this movement, what’s going to actually move things forward, your initial emotional reaction isn’t always the right one.”Jensen interjected.“Well yeah but don’t diminish emotional responses. Emotional responses are really tied up with moral responses,” Jensen said, adding that understanding the context in which art was made is key.“Being willing to value the aesthetic decisions that were made and also be critical of the maker,” Jensen said. “So it’s not a black and white.”PAFA is not the only institution having to navigate this gray area.Seattle University recently removed a Chuck Close self-portrait hanging in a campus library.The National Gallery of Art in Washington, DC indefinitely postponed its Chuck Close exhibit that was set to open in May. A museum spokesperson declined an interview but told us in an email that “all parties involved” agreed that it was “not the appropriate time” to present the installation. Anderson made the final call for PAFA: keep the Close exhibit, but with a caveat in the adjoining gallery right next door.“The site of an exhibition isn’t where you respond by censorship or changing the project. I rather felt that what we could do because of our real estate here. We had an opportunity to have a dialogue with another project.”That other project is what they’re calling a “response exhibit,” a gallery created to force a conversation that explores gender and equality in the art community.“There are no longer town halls and town squares,” Anderson said. “So what if a museum was a site where we could say we don’t agree, and lets unpack how we don’t agree. And let’s understand how we don’t agree, and maybe that advances us a little bit.”Anderson pointed out some of the highlights of the responsive exhibit, including a timeline regarding how and when the art world can become “an equitable space.”“How do we get more women in leadership positions? Women artists and collections, people of color, trans people, how do we create that balance?” 5181