Our theme this week, loosely speaking, is value.

1. Which location does Los Angeles mega-collector Eli Broad consider more valuable for his planned museum, downtown LA or Santa Monica? The real-estate magnate hasn't quite made up his mind yet, but he hinted this week to the Los Angeles Times that a 120,000-square-foot downtown building next to the Walt Disney Concert Hall might be more up his alley, for the simple fact that more people will come to see his art.

2.The Whitney Museum of American Art appears to be getting top value out of its trustees these days. One of them, Emily Fisher Landau, has just pledged 367 artworks to the museum, a gift the New York Times reported is worth between $50 million and $75 million, and which includes works by the likes of Jasper Johns and Andy Warhol.

3. Nothing pumps up an artist's value like being nominated for a major prize, and the Turner Prize is one of the world's most prestigious. Tate Britain announced the list of nominees this week, and it was accompanied by the usual grumbling in the press. On the BBC, Will Gompertz griped that the nominees are a little old. "It's odd that a bunch of quadragenarians should make up the entirety of the short-list," he writes. "What new development is any of this lot heralding?... It's not that any of the artists are unworthy, only that they could have been chosen years ago when what they were doing was actually new." Harsh! Meanwhile, over at the Guardian, acerbic critic Jonathan Jones likes Angela de la Cruz and Susan Philipsz, but sticks it to two other nominees: "Two of this year's list, the Otolith Group and [Dexter] Dalwood, are in my opinion duds – as far from genius as it is possible to get." There is one thing that can be said with assurance: all of these artists' dealers are cheering, and ignoring the chatter.

4. If the Turner Prize nominees' art will go up in value simply by dint of the fact that they've been nominated — and it will — one artwork arguably took the opposite trajectory this week. Yes, Picasso's 1932 painting Nude, Green Leaves and Bust took the world record for an artwork sold at auction when Christie's New York auctioneer Christopher Burge hammered it down for $106,482,500 on Tuesday night. But the previous day it had been priceless. Guardian critic Jonathan Jones, by the way, also had some whining to do on that subject: calling the sale "a tragedy," he laments that the picture will now disappear from public view. "Unless it turns out that the anonymous purchaser is a public museum — almost certainly not the case — what has happened here is a theft of world culture, art history and beauty from we, the people, by the super-rich." Being a person, this made me feel sad, and bereft.

5. As any oenophile will tell you, wines get more valuable with age... up to the point when they turn to vinegar. Paintings have the same shelf-life, unfortunately, and Hubert and Jan van Eyck's 15th-century masterpiece the Ghent Altarpiece needs the restoration equivalent of a Botox injection. (The painting "is showing its age," at the New York Times coyly put it.) The Getty Foundation has come to the rescue, bearing $230,000.