• 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 image/svg+xml 2021 Timothée Giet Anonymity and the Art Market: Balancing Privacy and Transparency
Back

Anonymity and the Art Market: Balancing Privacy and Transparency

October 16, 2023

What Are You Looking at? (2004), by Bansky. Marble Arch Street, London, GB

By Esther Neville

Art offers profound lessons about history and serves as a mirror of our society over time. Nevertheless, its purpose extends beyond these realms. It also acts as a means of adornment, rendering artworks a symbol of luxury. This association has made the art market a prominent conduit for substantial financial transactions. A notable example is the sale of Salvator Mundi by Leonardo da Vinci, sold by Christie’s for 475 million dollars, setting a record as the most expensive artwork ever sold to an individual.[1] One aspect that often raises eyebrows and sparks curiosity in the art market is the concept of anonymity. This article delves into the enigmatic world of anonymous collectors, and buyers, exploring the reasons behind their decision to remain hidden and the risks of the lack of transparency. Anonymity may lead to a potential debate concerning buyers/sellers’ right to remain anonymous and the lack of transparency in the art world.

Importance of Anonymity

Anonymity plays a crucial role in the art world. One of the most important reasons for its use is to safeguard one’s privacy and security. Artists, collectors, and dealers sometimes keep their names hidden to avoid biases, prejudices, or unwelcome attention. Anonymity helps artists to concentrate on their creative expression without interference from others, promoting artistic freedom and a fair playing field. Bansky is the ideal example of the anonymity of an artist, he has made excellent use of his secrecy, making it a key to his success with a net worth of 50 million pounds.[2] Furthermore, when collectors are concerned, they may buy artworks quietly without worrying about a third party misusing their personal information or drawing unwanted notice. Indeed, remaining anonymous can be critical in protecting important assets since it reduces the danger of theft or targeted assaults; it allows individuals to participate in the art market while maintaining their privacy. [3]Anonymity has also been favored in the art market by sellers or buyers to avoid prejudice in the bidding process.[4]

Risks of Lack of Transparency

However, while anonymity has its merits in artistic expression, its prevalence in art transactions raises concerns about transparency and accountability. The art market’s penchant for anonymity has created an environment where transactions occur behind closed doors, shielded from public scrutiny. Determining the actual ownership, origin, and authenticity of artworks is difficult due to this lack of transparency. Additionally, it provides a pathway for potential illegal activities including tax avoidance, money laundering, and the sale of stolen or looted art.[5] Anonymity’s impact on transparency extends beyond the buyers and sellers. It affects the overall market dynamics, distorting valuations and compromising the integrity of the art world. The lack of verifiable ownership records and anonymous transactions makes it difficult for collectors, investors, and even institutions to make informed decisions, resulting in a less reliable and trustworthy market.[6]

The 2016 Hoffman v L&M Arts Dispute

It is essential to note that not all transactions conducted by anonymous individuals indicate involvement in illegal activities or money laundering. Some individuals choose to remain anonymous for personal or professional reasons, without any illicit motives behind their actions. The 2016 Hoffman v L&M Arts case is a notable example of the delicate balance between personal privacy and the required transparency in the art market. [7] The main focal point of the case is the well-known Mark Rothko painting, called “Red Rothko” formerly owned by Marguerite Hoffman, the plaintiff. Hoffman arranged to sell the work in 2007 through a private sale and wished to keep this transaction private. When the painting was offered for sale later on, the cat was out of the bag, and Hoffman claimed that she was fraudulently persuaded into making the sale of the artwork on false pretenses of confidentiality. The subsequent public resale of the piece of art violated the confidentiality clause in her contract with the original buyer, David Martinez, a Mexican-born billionaire art collector, who paid $17.6 for the piece. Hoffman insisted on keeping her name a secret so as not to worry about possible ramifications within the art community.[8] The case raised pertinent questions about the rights of collectors to remain anonymous and the potential effects that such privacy may have on the broader openness and accountability of the art market. The court found that Hoffman could not expect confidentiality to last. The case ultimately demonstrated the complex interplay between privacy issues and the demand for transparency, leading to further discussions on finding the ideal compromise between these seemingly opposing forces.

What should be valued higher?

In the art market, there is a constant balancing act between transparency and the right to privacy. While transparency is often seen as beneficial and legally required, there are instances where confidentiality remains a valid choice and even a legal obligation. For dealers and auctioneers, maintaining confidentiality or discretion allows them to protect their clients and their business from competitors; it also enables dealers to profit from their research and expertise by creating a margin between acquisition and sale prices.[9] Therefore, confidentiality is crucial for the survival and functioning of the art market, despite potentially conflicting with dealers’ own need for research and due diligence.

However, legal requirements sometimes seem contradictory to the push for transparency. Art market participants often act as agents for others. While agents are expected to disclose their dealings to their principals, they are also bound to respect the principal’s desire for non-disclosure of their identity and business.[10] The right to privacy plays a significant role in maintaining confidentiality in the art market, although it has been a subject of debate. Privacy rights are protected by various legal frameworks, including statutory and common law privacy rights and data protection regulations. Therefore, even though transparency may suggest revealing a client’s identity when offering artwork for sale, dealers and auction houses may be commercially hesitant to do so, and the law may restrict them. As a result, the art market finds itself navigating between the advantages of transparency and the pressures of agency, personal privacy, and business confidentiality.

Increased transparency has undeniably opened the market to a broader range of participants, benefiting both the market and its stakeholders. However, the need to maintain discretion and privacy rights remains valid and influential. This requires practitioners to carefully balance disclosure and discretion while staying well-informed about relevant legal requirements in their jurisdiction and internationally. [11]

Conclusion

Overall, the anonymity and lack of transparency in the arts industry have made it a haven for secrecy as well as money laundering and other illegal activities and complicit acts from creditors; more involvement is needed to address this widespread problem.[12] For the art market to be more transparent, governments worldwide need to be stronger and coordinate internationally, while members of the art trade, such as galleries, and auction houses, need to apply ethical practices and appropriate research to combat illicit activities. Governments need to require tougher Know Your Customer (KYC) procedures, mandating verifiable ownership records and in the case of digital artworks encourage the adoption of blockchain technologies for those transactions.[13] By encouraging and raising the cloak of anonymity, public awareness and education are needed to recognize the warning signs of money laundering in the art market.[14]

While requiring openness and support for ethical values, art funders, collectors and art lovers should support causes that will create a more accountable and regulated art market. By erasing the shadow of anonymity and building transparency, we can maintain the integrity of the art market, protect the legacy of artists, and protect them from the currencies of the global financial system negatively. [15] It is through this collaborative effort that art can unlock its full potential as a vehicle for expression, inspiration, and cultural enrichment.

While the anonymity and lack of transparency inside the artwork market have raised worries about illicit activities, it is critical to acknowledge that anonymity would not always have to be perceived negatively.[16] The decision of buyers and dealers to stay anonymous is a legitimate choice that needs to be respected. It is vital to conduct similar studies and explorations to discover a delicate balance between privacy rights and the need for transparency. Striking this stability requires nuanced know-how of the complexities and implications. By delving deeper into this subject matter, policymakers, regulators, and market contributors can work in the direction of growing frameworks that recognize privateness while also addressing the worries surrounding the lack of transparency. A properly-knowledgeable technique will help ensure that privacy rights are upheld while maintaining a fair, responsible, and sustainable art market environment.

Disclaimer: This and all articles are intended as general information, not legal advice, and offer no substitution for seeking representation.

About the author

Esther Neville is finishing her European Law Bachelor at Maastricht University, with a minor in Art, Law and Policy Making. She wishes to combine her academics with her passion for the arts. She is very eager to participate in the Anti-Money Laundering Study Project this summer. Esther is very excited to start her role as a legal intern at the Center for Art Law and to have the opportunity to immerse herself in the art law field.

Further Reading

A report of Art & Finance, Deloitte

  • https://www2.deloitte.com/lt/en/pages/finance/articles/art-market-increasing-transparency.html

Transparency

  • https://news.artnet.com/market/price-transparency-art-market-1915145
  • https://www.myartbroker.com/investing/articles/transparency-in-the-art-market
  1. Artincontext, Most expensive paintings – a look at the Wold’s most valuable paintings, artincontext.org. (2023), https://artincontext.org/most-expensive-paintings/. ↑
  2. Dawsons, How much is an original banksy worth?, Dawsons Auctioneeers & Valuers (2022), https://www.dawsonsauctions.co.uk/news-item/how-much-is-an-original-banksy-worth/.

    ↑

  3. Maithreyi Soorej, The A to Z of the Art of Keeping an Anonymous Identity as a Collector, Indulge Express (2022), https://m.indulgexpress.com/culture/art/2022/jul/03/the-a-to-z-of-the-art-of-keeping-an-anonymous-identity-as-a-collector-41999.amp. ↑
  4. Sarah Cameron, How does Art Money laundering work? Comply Advantage (2023), https://complyadvantage.com/insights/art-money-laundering/. ↑
  5. Anderson et al., Money Laundering Issues in the Art Market, White & Case LLP (2023), https://www.whitecase.com/insight-alert/money-laundering-issues-art-market. ↑
  6. FATF, Money Laundering and Terrorist Financing in the Art and Antiquities Market, FATF, Paris, France, (2023), https://www.fatf-gafi.org/publications/Methodsandtrends/Money-Laundering-Terrorist-Financing-ArtAntiquities-Market.html ↑
  7. Hoffman v. L & M Arts, 838 F.3d 568 (5th Cir. 2016) ↑
  8. Hoffman v. L & M Arts, 838 F.3d 568 (5th Cir. 2016) ↑
  9. Christopherson, T. Art law and the art market: Disclosure or discretion?, Sotheby’s Institute of Art. (2017) https://www.sothebysinstitute.com/news-and-events/news/art-law-and-the-art-market-disclosure-or-discretion. ↑
  10. Ibid. ↑
  11. Ibid. ↑
  12. Cameron, S. (2023) How does art money laundering work?, ComplyAdvantage. Available at: https://complyadvantage.com/insights/art-money-laundering/. ↑
  13. Thorsten J Gorny, Anti-Money Laundering Guide for the art market Sanctions lists & PEP Screening for AML Compliance, (2022), https://www.sanctions.io/blog/anti-money-laundering-guide-for-the-art-market. ↑
  14. Barbereau, T., Sedlmeir, J., Smethurst, R., Fridgen, G., & Rieger, A. (2022). Tokenization and regulatory compliance for art and collectibles markets: from regulators’ demands for transparency to investors’ demands for privacy. In Blockchains and the Token Economy: Theory and Practice (pp. 213-236). Cham: Springer International Publishing. ↑
  15. Andrey V, Is There Transparency in the Art Market? Widewalls (2017), https://www.widewalls.ch/magazine/art-market-transparency. ↑
  16. The Art Market is increasing in transparency, Deloitte (2017), https://www2.deloitte.com/lt/en/pages/finance/articles/art-market-increasing-transparency.html. ↑

 

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 Case Review: The Barnes Foundation can now loan art (2023)
Next The Beginning of Ukraine’s Journey to Retrieve its Looted Art: An Insight into the Present and Potential Future of Ukraine’s Cultural Restoration

Related Art Law Articles

Center for Art Law Susan (Central Park) Legacy Over Licensing Josie Goettel
Art lawcopyrightlicensing

Legacy Over Licensing: How Artist Estates and Museums Are Redefining Control in the Digital Age

February 19, 2026
Center for Art Law M HKA
Art lawLegal Issues in Museum Administration

Flemish Government’s Plan to Dismantle M HKA’s Collection in the Name of Centralization of Art

February 18, 2026
Center for Art law Imitation is Not Flattery Lauren Stein The Supper at Emmaus
Art law

When Imitation is Not Flattery: Art Fakes, Forgeries, and the Market They Fool

January 28, 2026
Center for Art Law
Center for Art Law

Follow us on Instagram for the latest in Art Law!

Grab an Early Bird Discount for our new CLE progra Grab an Early Bird Discount for our new CLE program to train lawyers to assist visual artists and dealers in the unique aspects of their relationship.

Center for Art Law’s Art Lawyering Bootcamp: Artist-Dealer Relationships is an in-person, full-day training aimed at preparing lawyers for working with visual artists and dealers, in the unique aspects of their relationship. The bootcamp will be led by veteran attorneys specializing in art law.

This Bootcamp provides participants -- attorneys, law students, law graduates and legal professionals -- with foundational legal knowledge related to the main contracts and regulations governing dealers' and artists' businesses. Through a combination of instructional presentations and mock consultations, participants will gain a solid foundation in the specificities of the law as applied to the visual arts.

Bootcamp participants will be provided with training materials, including presentation slides and an Art Lawyering Bootcamp handbook with additional reading resources.

The event will take place at DLA Piper, 1251 6th Avenue, New York, NY. 9am -5pm.

Art Lawyering Bootcamp participants with CLE tickets will receive New York CLE credits upon successful completion of the training modules. CLE credits pending board approval. 

🎟️ Grab tickets using the link in our bio! 

#centerforartlaw #artlaw #legal #research #lawyer #artlawyer #bootcamp #artistdealer #CLE #trainingprogram
A recent report by the World Jewish Restitution Or A recent report by the World Jewish Restitution Organization (WRJO) states that most American museums provide inadequate provenance information for potentially Nazi-looted objects held in their collections. This is an ongoing problem, as emphasized by the closure of the Nazi-Era Provenance Internet Portal last year. Established in 2003, the portal was intended to act as a public registry of potentially looted art held in museum collections across the United States. However, over its 21-year lifespan, the portal's practitioners struggled to secure ongoing funding and it ultimately became outdated. 

The WJRO report highlights this failure, noting that museums themselves have done little to make provenance information easily accessible. This lack of transparency is a serious blow to the efforts of Holocaust survivors and their descendants to secure the repatriation of seized artworks. WJRO President Gideon Taylor urged American museums to make more tangible efforts to cooperate with Holocaust survivors and their families in their pursuit of justice.

🔗 Click the link in our bio to read more.

#centerforartlaw #artlaw #museumissues #nazilootedart #wwii #artlawyer #legalresearch
Join us for the Second Edition of Center for Art L Join us for the Second Edition of Center for Art Law Summer School! An immersive five-day educational program designed for individuals interested in the dynamic and ever-evolving field of art law. 

Taking place in the vibrant art hub of New York City, the program will provide participants with a foundational understanding of art law, opportunities to explore key issues in the field, and access to a network of professionals and peers with shared interests. Participants will also have the opportunity to see how things work from a hands-on and practical perspective by visiting galleries, artist studios, auction houses and law firms, and speak with professionals dedicated to and passionate about the field. 

Applications are open now through March 1st!

🎟️ APPLY NOW using the link in our bio! 

#centerforartlaw #artlawsummerschool #newyork #artlaw #artlawyer #legal #lawyer #art
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!
  • 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