• About
    • Mission
    • Team
    • Boards
    • Mentions & Testimonials
    • Institutional Recognition
    • Annual Reports
    • Current & Past Sponsors
    • Contact Us
  • Resources
    • Article Collection
    • Podcast: Art in Brief
    • AML and the Art Market
    • AI and Art Authentication
    • Newsletter
      • Subscribe
      • Archives
      • In Brief
    • Art Law Library
    • Movies
    • Nazi-looted Art Restitution Database
    • Global Network
      • Courses and Programs
      • Artists’ Assistance
      • Bar Associations
      • Legal Sources
      • Law Firms
      • Student Societies
      • Research Institutions
    • Additional resources
      • The “Interview” Project
  • Events
    • Worldwide Calendar
    • Our Events
      • All Events
      • Annual Conferences
        • 2025 Art Law Conference
        • 2024 Art Law Conference
        • 2023 Art Law Conference
        • 2022 Art Law Conference
        • 2015 Art Law Conference
  • Programs
    • Visual Artists’ Legal Clinics
      • Art & Copyright Law Clinic
      • Artist-Dealer Relationships Clinic
      • Artist Legacy and Estate Planning Clinic
      • Visual Artists’ Immigration Clinic
    • Summer School
      • 2026
      • 2025
    • Internship and Fellowship
    • Judith Bresler Fellowship
  • Case Law Database
  • Log in
  • Become a Member
  • Donate
  • Log in
  • Become a Member
  • Donate
Center for Art Law
  • About
    About
    • Mission
    • Team
    • Boards
    • Mentions & Testimonials
    • Institutional Recognition
    • Annual Reports
    • Current & Past Sponsors
    • Contact Us
  • Resources
    Resources
    • Article Collection
    • Podcast: Art in Brief
    • AML and the Art Market
    • AI and Art Authentication
    • Newsletter
      Newsletter
      • Subscribe
      • Archives
      • In Brief
    • Art Law Library
    • Movies
    • Nazi-looted Art Restitution Database
    • Global Network
      Global Network
      • Courses and Programs
      • Artists’ Assistance
      • Bar Associations
      • Legal Sources
      • Law Firms
      • Student Societies
      • Research Institutions
    • Additional resources
      Additional resources
      • The “Interview” Project
  • Events
    Events
    • Worldwide Calendar
    • Our Events
      Our Events
      • All Events
      • Annual Conferences
        Annual Conferences
        • 2025 Art Law Conference
        • 2024 Art Law Conference
        • 2023 Art Law Conference
        • 2022 Art Law Conference
        • 2015 Art Law Conference
  • Programs
    Programs
    • Visual Artists’ Legal Clinics
      Visual Artists’ Legal Clinics
      • Art & Copyright Law Clinic
      • Artist-Dealer Relationships Clinic
      • Artist Legacy and Estate Planning Clinic
      • Visual Artists’ Immigration Clinic
    • Summer School
      Summer School
      • 2026
      • 2025
    • Internship and Fellowship
    • Judith Bresler Fellowship
  • Case Law Database
Home image/svg+xml 2021 Timothée Giet Art Law History image/svg+xml 2021 Timothée Giet Heritage of Law: McClain at Forty-Five
Back

Heritage of Law: McClain at Forty-Five

October 31, 2022

By Kelly Cannici 

Forty-five years after the Fifth Circuit Court of Appeals decided United States v. McClain,[1] the case remains a towering presence in U.S. cultural property law. Taken in conjunction with its most notable progeny, United States v. Schultz,[2] the verdict rendered in McClain provided the foundation for a set of standards that have formed the basis of cultural patrimony and provenance decisions in U.S. courts almost since heritage litigation began. Since the onset of the twenty-first century, these standards—henceforth referred to as the McClain Doctrine—have been applied to four cases of particular relevance to the field of cultural heritage protection. The eldest, United States v. Portrait of Wally,[3] is part of the ever-expanding lineage of cases dealing with the repatriation of Nazi-appropriated art surrounding World War II. The other three cases all address the increasingly salient issue of illegal importation of cultural heritage artifacts to the United States for sale on the art market.

The McClain Doctrine

Before addressing these cases, it is important to take a moment to discuss the McClain Doctrine itself. At issue in McClain was whether the United States should recognize foreign patrimony laws relating to cultural artifacts, and if so, how. The arena for this debate was the importation of a number of pre-Columbian artifacts by the defendants from Mexico to the United States and their subsequent sale to an undercover FBI agent.[4] The defendants never disputed that the items had been exported from Mexico in violation of that country’s exportation laws.[5] Instead, they contested the U.S. government’s assertion that the artifacts qualified as having been stolen from Mexico due to the existence of a 1934 statute granting the Republic of Mexico de facto ownership of all pre-Columbian artifacts recovered within its borders.[6] The law was subsequently reinforced by two additional statutes, passed in 1970 and 1972, respectively, that clarified and expanded the government’s patrimony claims.[7]

Given Mexico’s substantial history of legislation granting the government ownership of cultural heritage objects, the court ultimately found in favor of acknowledging the country’s ownership of the contested artifacts.[8] Combined with the export restrictions then in force on Mexican archaeological items, the Fifth Circuit found that the items could be considered stolen under the definition of the National Stolen Property Act (NSPA).[9],[10] Though the NSPA had previously been considered with reference to cultural property in United States v. Hollinshead,[11] McClain marked the first direct application of the statute and was to become a watershed in the government’s approach to illegally imported antiquities.

From this determination, the McClain Doctrine was developed. Though no explicit enumeration of the Doctrine exists in the case law, it is generally articulated as three to four guidelines based on the McClain decision and its progeny. Cumulatively, the McClain Doctrine states that for an artifact to be considered stolen under the NSPA and recognized in U.S. courts, the following standards must apply:

  1. The cultural patrimony law(s) of a foreign nation must be more than merely export restrictions; it must clearly and unambiguously establish national ownership on its face and must be enforced domestically.
  2. The contested object must have been found within the modern territorial boundaries of the nation claiming ownership.
  3. The object must have been located within the country at the time the ownership law was enacted, so that removal claimed as unlawful must have occurred after the patrimony law took effect.[12]

Testing the Waters: United States v. Portrait of Wally (2000)

Despite increased interest in the illegal importation and exportation of cultural heritage artifacts in the late twentieth century, the McClain Doctrine was not applied in U.S. courts again until 2000, when the federal court in the Southern District of New York (S.D.N.Y.) decided United States v. Portrait of Wally. The facts of Wally diverge somewhat from those presented in McClain. In Wally, the United States was seeking forfeiture of an Egon Schiele painting then in the possession of the Museum of Modern Art (MoMA), on loan from the Leopold Museum-Privatstiftung in Austria. The U.S. government alleged that the painting had been stolen from its owners during the Nazi takeover of Austria in 1938-39 and consequently contended that the painting’s importation to MoMA was in violation of the NSPA, which prohibits the importation across state and national lines of stolen property.[13]

In making its case for forfeiture, the United States relied on the decision reached in McClain, its subsequent appeal, referred to as McClain II,[14] and the controlling power of Austrian law.[15] The deciding court found fault with this application, reasoning that,

The McClain cases do not hold that § 2314 applies to items that are “classified as stolen under [the relevant body of local] … law[].” (Gov’t Mem. at 66-67) (emphasis added) Rather, the cases hold that if the federal law definition of “stolen” is satisfied, § 2314 applies to items that are classified as owned — i.e., as property — under local law.[16]

The court noted that a critical element of the NSPA is whether the defendant has knowledge that contested goods were stolen.[17] Finding that MoMA was unaware of the disputed origins of the painting, the S.D.N.Y. ruled that the McClain decision was not applicable and denied the government forfeiture.[18] However, the opinion in Wally nevertheless contributed to the ongoing development of the McClain Doctrine. In its reasoning, the court determined that,

Under both the McClain cases … federal law controls the question of whether an item is stolen, and local law—Mexican law in McClain … —controls the analytically prior issues of (a) whether any person or entity has a property interest in the item such that it can be stolen, and (b) whether the receiver of the item has a property interest it. These issues are wholly distinct from the question of the conditions under which a once-stolen item ceases to be stolen. The answer to the latter question is determined by federal law and not local law, and the doctrine applies.[19]

Expansion: United States v. Schultz (2003)

Further elaboration of the McClain Doctrine would continue three years later in United States v. Schultz, the next case to consider the application of the NSPA to cultural heritage items. The issues in Schultz bear a much greater resemblance to those in McClain than did the conflict presented in Wally, so it is perhaps not surprising that Schultz, instead of Wally, is often cited alongside McClain as one of the foundational instances of U.S. cultural property litigation. In 2001, New York art dealer Frederick Schultz was indicted for conspiring to receive stolen Egyptian antiquities that had been transported internationally and across state lines in violation of the NSPA.[20] Although Egypt had enacted a national patrimony law in 1983, Schultz argued that the statute, known as Law 117, did not confer ownership on the Egyptian government but was an export restriction only, thus rendering the McClain Doctrine inapplicable.[21] The Second Circuit court denied this argument, finding that a plain reading of the law clearly conferred “clear and unambiguous” ownership rights on the Egyptian government.[22]

However, the plaintiff further held that even if a foreign government could be shown to have legal ownership of cultural property items under their own laws, the validity of such ownership should not be recognized by U.S. courts for purposes of enforcing the NSPA. The court found this argument spurious as well, asserting that, “Just as the property need not be stolen in the United States to bring the NSPA into play, the fact that the rightful owner of the stolen property is foreign has no impact on a prosecution under the NSPA.”[23] Consequently, the court upheld the standard established in McClain, holding that “the NSPA applies to property that is stolen from a foreign government, where that government asserts actual ownership of the property pursuant to a valid patrimony law.”[24]

Continuing Forward: United States v. One Tyrannosaurus Bataar Skeleton (2012) and United States v. 10th Century Cambodian Sandstone Sculpture (2013)

Despite the decisive precedent set by McClain, Wally, and Schultz, the issue of whether or not an artifact imported into the U.S. from a foreign country can be properly construed as stolen under the NSPA was also central to the defendants’ arguments in two cultural property cases within the last decade.

United States v. One Tyrannosaurus Bataar Skeleton[25] and United States v. 10th Century Cambodian Sandstone Sculpture,[26] both argued before the S.D.N.Y., saw the defending counsels contend that the U.S. government was unable to adequately prove that the items for which the United States was seeking forfeiture had been stolen from their countries of origin. In each instance, the defendants argued that the patrimony laws of the foreign governments in question (Mongolia in One Tyrannosaurus Bataar Skeleton and Cambodia in 10th Century Cambodian Sandstone Sculpture) did not grant the nations ownership based on a plain reading of the statutes, a position that nullified the U.S. government’s attempt to apply the McClain Doctrine to each scenario. In One Tyrannosaurus Bataar Skeleton, the defendant further maintained that under the McClain Doctrine (here cited as it appeared in Schultz), the mere existence of a statute granting Mongolia ownership of cultural property was insufficient for establishing the artifact at issue as stolen. Mongolia must also actively enforce its claim.[27] In response, the S.D.N.Y. determined that enforcement is not necessary for establishing a claim to ownership, finding that “the government need not plead active enforcement of these laws in order to state a plausible claim for relief where, as here, the foreign statutes pleaded in the complaint appear on their face to vest title in the Defendant Property in a foreign state.”[28]

This decision was reiterated a year later when the court’s determination was used to clarify a similar issue in 10th Century Cambodian Sandstone Sculpture. The defendant claimed that the law granting the Cambodian government artifact ownership had been enacted under a prior colonial government and alleged that there was no evidence “demonstrating that Cambodia has ever enforced the colonial decrees relied upon by the Government.”[29] The Court responded by pointing out the decisions in McClain, Schultz, and One Tyrannosaurus Bataar Skeleton and finding that the existence of an ownership statute was again sufficient to provide a basis for categorization of the artifact as stolen and thus to apply the NSPA.[30]

Conclusion

The expanding application of the McClain Doctrine to cases dealing with the forfeiture of heritage objects clearly illustrates the central role of McClain in cultural property litigation in the United States. Despite being subject to occasional modification since its genesis forty-five years ago, the McClain Doctrine remains a powerful force in U.S. cultural heritage cases and one that is certain to continue to shape the future of heritage materials imported to this country.

Suggested Reading:

  • Matthew H. Birkhold, “The Indigenous McClain Doctrine: A New Legal Tool to Protect Cultural Patrimony and the Right to Self-Determination.” 97 Wash. U.L. Rev. 113, 2019.
  • Michael Dearman, “Intractable Problems and Modest Solutions: The Illicit Antiquities Trade Between the U.S. and Mexico.” 41 Hous. J. Int’l L. 413, 2019.
  • Patty Gerstenblith, “Provenience and Provenance Intersecting with International Law in the Market for Antiquities.” 45 N.C. J. Int’l L. 457, 2020.
  • William R. Ognibene, “Lost to the Ages: International Patrimony and the Problem Faced by Foreign States in Establishing Ownership of Looted Antiquities.” 84 Brook. L. Rev. 605, 2019.
  • United States v. Hollinshead, 495 F. 2d 1154 (United States Court of Appeals, Ninth Circuit, Apr. 11, 1974).
  • Paige L. Margules, “International Art Theft and the Illegal Import and Export of Cultural Property: A Study of Relevant Values, Legislation, and Solutions.” 15 Suffolk Transnat’l L.J. 609, 1992.

About the Author

Kelly Cannici is currently pursuing her master’s degree in Cultural Heritage Management at the University of York. She received undergraduate degrees in Anthropology and German Studies from Montana State University and is a staunch proponent of interdisciplinary collaboration as the most effective way to protect cultural property.

  1. United States v. McClain, 545 F. 2d 988 (United States Court of Appeals, Fifth Circuit, Jan. 24, 1977). ↑

  2. United States v. Schultz, 333 F. 3d 393 (United States Court of Appeals, Second Circuit, Jun. 25, 2003). ↑
  3. United States v. Portrait of Wally, 105 F. Supp. 2d 288 (S.D.N.Y. Jul. 19, 2000).↑
  4. McClain 545 F. 2d 988 at 990. ↑
  5. McClain 545 F. 2d 988 at 992 ↑
  6. 82 Diario Oficial 152, 19 de enero de 1934. Cited in McClain 545 F. 2d 988 at 998, footnote 19. ↑
  7. McClain 545 F. 2d 988 at 999-1000. ↑
  8. McClain 545 F. 2d 988 at 1001. ↑
  9. 18 U.S.C. § 2314-15 ↑
  10. McClain 545 F. 2d 988 at 1009-1010. ↑
  11. United States v. Hollinshead, 495 F. 2d 1154 (United States Court of Appeals, Ninth Circuit, Apr. 11, 1974). ↑

  12. Adapted from Gerstenblith, Patty, “Provenience and Provenance Intersecting with International Law in the Market for Antiquities.” 45 N.C.J. Int’l Law 457, 2020, and Birkhold, Matthew H., “The Indigenous McClain Doctrine: A New Legal Tool to Protect Cultural Patrimony and the Right to Self-Determination.” 97 Wash. U.L. Rev. 113, 2019. ↑

  13. Wally 105 F. Supp. 2d at 289-290. ↑

  14. United States v. McClain, 593 F. 2d 658 (United States Court of Appeals, Fifth Circuit, Apr. 23, 1979). ↑

  15. Wally 105 F. Supp. 2d at 291. ↑

  16. Wally 105 F. Supp. 2d at 292. ↑

  17. Id. ↑

  18. Wally 105 F. Supp. 2d at 294. ↑
  19. Wally 105 F. Supp. 2d at 292. ↑
  20. Schultz 333 F. 3d at 395. ↑
  21. Schultz 333 F. 3d 393. ↑
  22. Id. ↑
  23. Schultz 333 F. 3d at 403. ↑
  24. Schultz 333 F. 3d at 416. ↑
  25. United States v. One Tyrannosaurus Bataar Skeleton, 12 Civ. 4760 (PKC), 2012 U.S. Dist. LEXIS 165153; 2012 WL 5834899 (S.D.N.Y. Nov. 14, 2012). ↑
  26. United States v. 10th Century Cambodian Sandstone Sculpture, 12 Civ. 2600 (GBD), 2013 U.S. Dist. LEXIS 45903; 2013 WL 1290515 (S.D.N.Y. Mar. 28 2013). ↑
  27. One Tyrannosaurus Bataar Skeleton, 12 Civ. 4760 (PKC) at 8 ↑
  28. Id. ↑
  29. 10th Century Cambodian Sandstone Sculpture, 12 Civ. 2600 (GBD) at 6 ↑
  30. Id. ↑

See Red List prepared by ICOM.

Disclaimer: This article is for educational purposes only and is not meant to provide legal advice. Readers should not construe or rely on any comment or statement in this article as legal advice. For legal advice, readers should seek a consultation with an attorney.

Post navigation

Previous “The Rosa Parks of NAGPRA”
Next For Background Purposes: Prep for an Artist Interview

Related Posts

logo

For Better or Worse: Yale and Peru Commit to the Return of Thousands of Incan Artifacts

February 12, 2011
logo

New Declaration Proposed for Saving Cultural Property

January 22, 2013

Homage to Grand Central Anniversaries

February 4, 2013
Center for Art Law
Center for Art Law

Follow us on Instagram for the latest in Art Law!

Join us for an informative presentation and pro bo Join us for an informative presentation and pro bono consultations to better understand the current art and copyright law landscape. Copyright law is a body of federal law that grants authors exclusive rights over their original works — from paintings and photographs to sculptures, as well as other fixed and tangible creative forms. Once protection attaches, copyright owners have exclusive economic rights that allow them to control how their work is reproduced, modified and distributed, among other uses.

Albeit theoretically simple, in practice copyright law is complex and nuanced: what works acquire such protection? How can creatives better protect their assets or, if they wish, exploit them for their monetary benefit? 

🎟️ Grab tickets using the link in our bio! 

#centerforartlaw #artlaw #legal #research #lawyer #artlawyer #bootcamp #copyright #CLE #trainingprogram
In October, the Hispanic Society Museum and Librar In October, the Hispanic Society Museum and Library deaccessioned forty five paintings from its collection through an auction at Christie's. The sale included primarily Old-Master paintings of religious and aristocratic subjects. Notable works in the sale included a painting from the workshop of El Greco, a copy of a work by Titian, as well as a portrait of Isabella of Portugal, and Clemente Del Camino y Parladé’s “El Columpio (The Swing). 

The purpose of the sale was to raise funds to further diversify the museum's collection. In a statement, the institution stated that the works selected for sale are not in line with their core mission as they seek to expand and diversify their collection.

🔗 Click the link in our bio to read more.

#centerforartlaw #artlawnews #artlawresearch #legalresearch #artlawyer #art #lawyer
Check out our new episode where Paris and Andrea s Check out our new episode where Paris and Andrea speak with Ali Nour, who recounts his journey from Khartoum to Cairo amid the ongoing civil war, and describes how he became involved with the Emergency Response Committee - a group of Sudanese heritage officials working to safeguard Sudan’s cultural heritage. 

🎙️ Click the link in our bio to listen anywhere you get your podcasts! 

#centerforartlaw #artlaw #artlawyer #legal #research #podcast #february #legalresearch #newepisode #culturalheritage #sudaneseheritage
When you see ‘February’ what comes to mind? Birthd When you see ‘February’ what comes to mind? Birthdays of friends? Olympic games? Anniversary of war? Democracy dying in darkness? Days getting longer? We could have chosen a better image for the February cover but somehow the 1913 work of Umberto Boccioni (an artist who died during World War 1) “Dynamism of a Soccer Player” seemed to hit the right note. Let’s keep going, individuals and team players.

Center for Art Law is pressing on with events and research. We have over 200 applications to review for the Summer Internship Program, meetings, obligations. Reach out if you have questions or suggestions. We cannot wait to introduce to you our Spring Interns and we encourage you to share and keep channels of communication open. 

📚 Read more using the link in our bio! Make sure to subscribe so you don't miss any upcoming newsletters!

#centerforartlaw #artlaw #artlawyer #legal #research #newsletter #february #legalresearch
Join the Center for Art Law for conversation with Join the Center for Art Law for conversation with Frank Born and Caryn Keppler on legacy and estate planning!

When planning for the preservation of their professional legacies and the future custodianship of their oeuvres’, artists are faced with unique concerns and challenges. Frank Born, artist and art dealer, and Caryn Keppler, tax and estate attorney, will share their perspectives on legacy and estate planning. Discussion will focus on which documents to gather, and which professionals to get in touch with throughout the process of legacy planning.

This event is affiliated with the Artist Legacy and Estate Planning Clinic which seeks to connect artists, estate administrators, attorneys, tax advisors, and other experts to create meaningful and lasting solutions for expanding the art canon and art legacy planning. 

🎟️ Grab tickets using the link in our bio! 

#centerforartlaw #artlaw #clinic #artlawyer #estateplanning #artistlegacy #legal #research #lawclinic
Authentication is an inherently uncertain practice Authentication is an inherently uncertain practice, one that the art market must depend upon. Although, auction houses don't have to guarantee  authenticity, they have legal duties related to contract law, tort law, and industry customs. The impact of the Old Master cases, sparked change in the industry including Sotheby's acquisition of Orion Analytical. 

📚 To read more about the liabilities of auction houses and the change in forensic tools, read Vivianne Diaz's published article using the link in our bio!
Join us for an informative guest lecture and pro b Join us for an informative guest lecture and pro bono consultations on legacy and estate planning for visual artists.

Calling all visual artists: join the Center for Art Law's Artist Legacy and Estate Planning Clinic for an evening of low-cost consultations with attorneys, tax experts, and other arts professionals with experience in estate and legacy planning.

After a short lecture on a legacy and estate planning topic, attendees with consultation tickets artist will be paired with one of the Center's volunteer professionals (attorneys, appraisers and financial advisors) for a confidential 20-minute consultation. Limited slots are available for the consultation sessions.

Please be sure to read the entire event description using the LinkedIn event below.

🎟️ Grab tickets using the link in our bio!
On May 24, 2024 the UK enacted the Digital Markets On May 24, 2024 the UK enacted the Digital Markets, Competition and Consumers Act 2024 (DMCC). This law increases transparency requirements and consumer rights, including reforming subscription contracts. It grants consumers cancellation periods during cooling-off times. 

Charitable organizations, including museums and other cultural institutions, have concerns regarding consumer abuse of this option. 

🔗 Read more about this new law and it's implications in Lauren Stein's published article, including a discussion on how other jurisdictions have approached the issue, using the link in our bio!
Don't miss our on our upcoming Bootcamp on Februar Don't miss our on our upcoming Bootcamp on February 4th! Check out the full event description below:

Join the Center for Art Law for an in-person, full-day training aimed at preparing lawyers for working with art market participants and understanding their unique copyright law needs. The bootcamp will be led by veteran art law attorneys, Louise Carron, Barry Werbin, Carol J. Steinberg, Esq., Scott Sholder, Marc Misthal, specialists in copyright law.

This Bootcamp provides participants -- attorneys, law students, law graduates and legal professionals -- with foundational legal knowledge related to copyright law for art market clients. Through a combination of instructional presentations and mock consultations, participants will gain a solid foundation in copyright law and its specificities as applied to works of visual arts, such as the fair use doctrine and the use of generative artificial intelligence tools.

🎟️ Grab tickets using the link in our bio!
The expansion of the use of collaborations between The expansion of the use of collaborations between artists and major consumer corporations brings along a myriad of IP legal considerations. What was once seen in advertisement initiatives  has developed into the creation of "art objects," something that lives within a consumer object while retaining some portion of an artists work. 

🔗 Read more about this interesting interplay in Natalie Kawam Yang's published article, including a discussion on how the LOEWE x Ghibli Museum fits into this context, using the link in our bio.
We can't wait for you to join us on February 4th! We can't wait for you to join us on February 4th!  Check out the full event description below:

Join the Center for Art Law for an in-person, full-day training aimed at preparing lawyers for working with art market participants and understanding their unique copyright law needs. The bootcamp will be led by veteran art law attorneys, Louise Carron, Barry Werbin, Carol J. Steinberg, Esq., Scott Sholder, Marc Misthal, specialists in copyright law. 

This Bootcamp provides participants -- attorneys, law students, law graduates and legal professionals -- with foundational legal knowledge related to copyright law for art market clients. Through a combination of instructional presentations and mock consultations, participants will gain a solid foundation in copyright law and its specificities as applied to works of visual arts, such as the fair use doctrine and the use of generative artificial intelligence tools.

🎟️ Grab tickets using the link in our bio!
Don't forget to grab tickets to our upcoming Collo Don't forget to grab tickets to our upcoming Colloquium, discussing the effectiveness of no strike designations in Syria, on February 2nd. Check out the full event description below:

No strike designations for cultural heritage are one mechanism by which countries seek to uphold the requirements of the 1954 Hague Convention. As such, they are designed to be key instruments in protecting the listed sites from war crimes. Yet not all countries maintain such inventories of their own whether due to a lack of resources, political views about what should be represented, or the risk of misuse and abuse. This often places the onus on other governments to create lists about cultures other than their own during conflicts. Thus, there may be different lists compiled by different governments in a conflict, creating an unclear legal landscape for determining potential war crimes and raising significant questions about the effectiveness of no strikes as a protection mechanism. 

Michelle Fabiani will discuss current research seeking to empirically evaluate the effectiveness of no strike designations as a protection mechanism against war crimes in Syria. Using data on cultural heritage attacks from the height of the Syrian Conflict (2014-2017) compiled from open sources, a no strike list completed in approximately 2012, and measures of underlying risk, this research asks whether the designations served as a protective factor or a risk factor for a given site and the surrounding area. Results and implications for holding countries accountable for war crimes against cultural heritage are discussed. 

🎟️ Grab tickets using the link in our bio!

#centerforartlaw #artlaw #culturalheritage #lawyer #legalreserach #artlawyer
  • About the Center
  • Contact Us
  • Newsletter
  • Upcoming Events
  • Internship
  • Case Law Database
  • Log in
  • Become a Member
  • Donate
DISCLAIMER

Center for Art Law is a New York State non-profit fully qualified under provision 501(c)(3)
of the Internal Revenue Code.

The Center does not provide legal representation. Information available on this website is
purely for educational purposes only and should not be construed as legal advice.

TERMS OF USE AND PRIVACY POLICY

Your use of the Site (as defined below) constitutes your consent to this Agreement. Please
read our Terms of Use and Privacy Policy carefully.

© 2026 Center for Art Law