ACADEMIC ARTICLES
Bordering on Alchemy: A Nation of Counterfeiters
Stephen Mihm
Daubertizing the Art Expert
John Daab
Looting History: An Analysis of the Illicit Antiquities Trade in Israel
Aleksandra Sheftel
The Beltracchi Affair:
A Comment on the “Most Spectacular” German Art Forgery Case in Recent Times
Duncan Chappell and Saskia Hufnagel
The Forger’s Point of View
Thierry Lenain
REGULAR COLUMNS
Art Law and Policy 55 “When Photography Might be Illegal”
Donn Zaretsky
“Rise in Thefts from Museums: Due to Economic Crisis?”
Ton Cremers
Context Matters
“Princeton and Recently Surfaced Antiquities”
David Gill
The Empty Frame
“Giorgio Vasari, Art Thief”
Derek Fincham
Lessons from the History of Art Crime
“Mark Landis: the Forger Who Has Yet to Commit a Crime”
Noah Charney
EDITORIAL ESSAYS
“Headache Art”
Joshua Knelman
“Appendix on Forensics of Forgery Investigation”
Noah Charney
“Art Crime in North America”
Noah Charney
REVIEWS
Anthony M. Amore and Tom Mashberg
“Stealing Rembrandts: The Untold Stories of Notorious Art Heists”
Stuart George reviews
James Cuno
“Museums Matter: In Praise of the Encyclopedic Museum”
David Gill reviews
Joshua Knelman
“Hot Art: Chasing Thieves and Detectives Through the Secret World of Stolen Art”
Catherine Schofield Sezgin reviews
Aviva Briefel
“The Deceivers: Art Forgery and Identity in the Nineteenth Century”
Noah Charney reviews
Peter Silverman with Catherine Whitney
“Leonardo’s Lost Princess”
John Kleberg reviews
EXTRAS
Q&A with George H. O. Abungu
Noah Charney
Q&A with Ernst Schöller
Noah Charney
Q&A with Joris Kila and Karl von Habsburg
Noah Charney
Q&A with Ralph Frammolino and Jason Felch
Noah Charney
Q&A with Thierry Lenain
Noah Charney
Q&A on Art Crime in Canada
Noah Charney
