ACADEMIC ARTICLES
Something is Confidential in the State of Christie’s
Christos Tsirogiannis
The Question of the Value of Doubles in Autographic Arts
Thierry Lenain
Graffiti in Contemporary Rome: Why Reductive Solutions will Fail and Why that’s a Good Thing
Caitlin Willis
Poland’s Restitution Efforts in the United States
Anna A. Perl
A Marble Statue of a Boy at the Virginia Museum of Fine Arts
Christos Tsirogiannis
Legal and Illegal Actors around Art Crime: a Typology of Interfaces
Edgar Tijhuis
REGULAR COLUMNS
Context Matters
“Dallas Museum of Art Takes the Initiative”
David Gill
The Empty Frame:
“Will the Statute of Frauds Crack the Art Market’s Shield of Anonymity in New York?”
Derek Fincham
“Art Recovery: Negotiating with Criminals, Handlers, and Good Faith Purchasers”
Christopher Marinello
Lessons from the History of Art Crime
“New “Intelligence” Body Will Monitor Illegal Traffic in Cultural Property”
Noah Charney
EDITORIAL ESSAYS
“On Art Forgery: the History of a Modern Obsession by Thierry Lenain”
David Scott
Highlights of Selected Criminal Cases Involving Art & Cultural Objects: 2012
Steven D. Feldman Herrick, Feinstein LLP
The Thieving Director: the Horrifying Theft of Thousands of Books, and the Thief who was Paid to Protect Them
Stefano Alessandrini
Lost, Forgotten, Looted, or Destroyed: A Great-Granddaughter’s Search for her Art Legacy 105
Elizabeth Rynecki
REVIEWS
Erik el Belga
Por amor al arte. Memorias del ladrón más famoso del mundo
Marc Balcells reviews
Llewelyn Morgan
The Buddhas of Bamiyan
Catherine Schofield Sezgin reviews
Janet Ulph and Ian Smith
The Illicit Trade in Art and Antiquities
Marc Balcells reviews
Jonathon Keats
Forged: Why Fakes Are The Great Art of Our Age
Catherine Schofield Sezgin reviews
EXTRAS
Q&A with Ruth Godthelp
Noah Charney
Q&A with Ken Perenyi
Noah Charney
