The Center for Art Law hosts a lunch discussion “Too Good to Be True”.

Economic calculations behind the production and dissemination of fakes and forgeries are easy to understand and hard to process. When demand for certain goods, let’s say Modigliani paintings or Giacometti sculptures, exceeds the supply, particularly creative individuals or groups may step in to address the scarcity and introduce it into the art market counterfeits. What are the real costs and damages of peddling falsely attributed artworks?

Judd Tully along with Emily Reisbaum and Irina Tarsis present historical case studies of art forgeries.