• 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
        • 2026 Art Law Conference
        • 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
        • 2026 Art Law Conference
        • 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 Our articles 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 Art Law Articles

Center for Art Law IAL article
Art Law History

The Institute of Art & Law Celebrates its 30th Anniversary

September 26, 2025
CfAL Athens Article Parthenon Marbles
Art lawArt Law History

Room 18 should be Empty: Is a permanent loan enough to resolve the Parthenon Marbles dispute?

September 19, 2025
Center for Art Law Kunsthaus Zurich Buhrle collection Collectors room 2
Art lawArt Law HistoryMuseum issuesSee Art Think Art Law

Zurich Spotlight: Can the Art be Separated from … the Owner? How the Kunsthaus Museum is Addressing its Controversial Affiliations with National Socialism

August 18, 2025
AML Guide 2025

AML Guide 2025

Explore our updated AML Survey with key insights on how evolving regulations impact the art market.

Download here
Center for Art Law

Follow us on Instagram for the latest in Art Law!

Don't miss our upcoming conversation with Dr. Rubi Don't miss our upcoming conversation with Dr. Rubina Raja, Professor of Classical Archaeology and Art at Aarhus University, as she presents contemporary, collaborative approaches to combating the illicit trade in antiquities, with a particular focus on Palmyra (Tadmor), Syria.

Drawing on the historical relationship between collecting and looting, the discussion will highlight the Palmyrene Portrait Project, a corpus of over 4,000 funerary portraits from Palmyra compiled by Dr. Raja and her team since 2012. The project serves as a critical record of material that, in many cases, remained in situ prior to the outbreak of the Syrian Civil War.

Before its inception, this body of material had not been treated as a unified corpus, nor systematically digitized. Today, the project stands as both the largest corpus of individual Roman period portraits from a single urban context and an essential scholarly and practical tool for identifying objects from Palmyra as they emerge on the art market.

Please note this event will not be recorded. 

🎟️ Get tickets now using the link in bio!

#centerforartlaw #arlaw #artlawyer #legalresearch #culturalheritage #artcrime #antiquities
Recently some artist estates have loosened fair us Recently some artist estates have loosened fair use policies for non-profits. The Robert Rauschenberg Foundation is one such example. In an effort to promote Rauschenberg's work over short-term revenue gain, it implemented one of the first fair use policies for certain museums before widening it to the public at large. 

Artist engagement levels did increase, but the policy brought up other issues, including distinguishing non-profit from for-profit uses. 

📚 Click the link in our bio to read more in our article by Josie Goettel!

#centerforartlaw #artlaw #artlawyer #legalresearch #art #artistissues #artistestates #museumissues #iplaw #copyright #ip
Meet our stellar line up of speakers! Thomas Stau Meet our stellar line up of speakers!

Thomas Stauffer | Partner, Gerber & Stauffer Fine Arts; President, Swiss Art Trading Association @thomstauffer 

Stefan Puttaert | CEO, Nicola Erni Collection @stefanputtaert @nicolaernicollection 

Alana Kushnir | Founder & Principal, Aurelian Lawyers & Advisers @aurelianlawyersandadvisers 

Will Korner | Head of Fairs, TEFAF @willkorner 

Pascal Robert | Founder, Pascal Robert Gallery @pascalrobertgallery 

Irina Tarsis | Founder, Center for Art Law, Moderator

▪️See you this Saturday, June 13 | 11:30–13:00
Auditorium Willy G.S. Hirzel, Landesmuseum Zurich
Free & open to the public

▪️Official part of @zurichartweekend programme
June! Roses are in bloom, summer interns have comp June! Roses are in bloom, summer interns have completed two weeks of orientation and research, and the world is heating up. As we wrap up after the Summer School, with much gratitude to our faculty and students, and digest the Copyright Law Conference takeaways, we cannot wait for our panel discussion Art Markets & the World in Transition (what is not?!) during the Zurich Art Weekend (in town on June 13th? Join us!), and look forward to sharing new research and articles with you posthaste. 

Make sure to subscribe to our newsletter to get all of these updates and more! 

📚 Click the link in our bio to get a curated collection of art law news, our most recent published articles, upcoming events, and much more!!

#centerforartlaw #artlaw #artlawyer #lawyer #artissues #newsletter #june #legalresearch
In this episode of Art in Brief, Andrea and Paris In this episode of Art in Brief, Andrea and Paris speak with Will Korner, founder and director of the Cultural Heritage At Risk Database Foundation (CHARD). 

From conflict zones to disaster-stricken regions, Will discusses how documentation, collaboration, and technology can help safeguard the objects and stories that connect us to our shared past from illicit trade. He also explains how CHARD’s database can be used to cross-check whether stolen or missing cultural objects are appearing on the art market, including at auction, and what is at stake when these irreplaceable pieces of heritage are lost. 

🎙️ Check out the podcast anywhere you get your podcasts using the link in our bio! 

#centerforartlaw #artlaw #artlawyer #podcast #legal #research #legalresearch #newepisode #artmarket #culture #artcrime
Despite the passage of multiple anti-money launder Despite the passage of multiple anti-money laundering laws in the U.S. over the past two decades, the art market is still considered the "largest legal unregulated industry." Its perceived lax regulatory regime and various industry-specific factors, makes high-value art an attractive tool for laundering criminal proceeds. 

The rise in laundering through high-value art is mainly attributed to the high-dollar transactions values, the ease of transporting artwork across borders, the market's longstanding culture of privacy, and art's evolution as a financial asset. That said, the art market is not entirely unregulated. As this article shows, other mechanisms — including industry self-regulation, public pressure from high-profile litigation and settlements, and sanction laws — provide a certain regulatory structure.

📚 Click the link in our bio to read more!

#centerforartlaw #artlaw #legal #artlawyer #legalreserach #artmarket #AML #internationallaw #lawyer #artcrime #money
10 DAYS TO GO - MARK YOUR CALENDARS! Saturday, Ju 10 DAYS TO GO - MARK YOUR CALENDARS!

Saturday, June 13 | 11:30–13:00
Auditorium Willy G.S. Hirzel, Landesmuseum Zurich
Free & open to the public

With big gratitude to our sponsors, we look forward to welcoming you at the event!
📍June 13, 11:30 - 13:00 | Auditorium Willy G.S. Hi 📍June 13, 11:30 - 13:00 | Auditorium Willy G.S. Hirzel, Landesmuseum Zurich 

Free & open to the public

This June, as part of the official program of @zurichartweekend, we are bringing together some of the sharpest minds in the international art world for a candid conversation on what’s reshaping collecting today.

▪️Art Markets and the World in Transition: Frameworks Shaping Global Collecting

Geopolitics. Tariffs. AML regulation. Taxes. The rules of the art market are changing as fast as your news feed, and this panel is where experts unpack what that means for collectors, gallerists, and art lovers.

Speakers: 

Will Korner (TEFAF) · Alana Kushnir (Aurelian Lawyers & Advisers) · Pascal Robert (Pascal Robert Gallery) · Stefan Puttaert (Nicola Erni Collection) · Thomas Stauffer (SATA) ·  Irina Tarsis, Esq. (Center for Art Law, moderator)

The event sponsors to be announced soon! 

Link in bio to save your spot 🔗

#ZurichArtWeekend #ArtLaw #ArtMarket #Collecting #ZAW2026 LandesmuseumZürich CenterForArtLaw ArtAndLaw CrossBorderCollecting
Join the Center for Art Law for a conversation wit Join the Center for Art Law for a conversation with Dr. Rubina Raja, Professor of Classical Archaeology and Art at Aarhus University, as she presents contemporary, collaborative approaches to combating the illicit trade in antiquities, with a particular focus on Palmyra (Tadmor), Syria.

Drawing on the historical relationship between collecting and looting, the discussion will highlight the Palmyrene Portrait Project, a corpus of over 4,000 funerary portraits from Palmyra compiled by Dr. Raja and her team since 2012. The project serves as a critical record of material that, in many cases, remained in situ prior to the outbreak of the Syrian Civil War. 

Before its inception, this body of material had not been treated as a unified corpus, nor systematically digitized. Today, the project stands as both the largest corpus of individual Roman period portraits from a single urban context and an essential scholarly and practical tool for identifying objects from Palmyra as they emerge on the art market. 

🎟️ Get tickets now using the link in bio!

#centerforartlaw #arlaw #artlawyer #legalresearch #culturalheritage #artcrime #antiquities
On October 6, 2025, the Flemish Government announc On October 6, 2025, the Flemish Government announced plans to transform the Museum of Contemporary Art Antwerp (M HKA) into an art center — a change that would make the institution lose its legal museum status and transfer its collection to the Stedelijk Museum voor Actuele Kunst in Ghent. Losing this status will have huge legal, financial, and cultural repercussions for the M HKA. 

This decision raised strong reactions from the art world, denouncing the false administrative logic behind this reorganization, which, according to the Flemish Minister of Culture, aims to strengthen collaboration and coherence within the cultural landscape. How does this transfer truly impact the Belgian artistic landscape — and does it really contribute to any coherence, or does it instead destroy the long-term curation and expertise that the institution has built in Antwerp?

📚 Click the link in our bio to read the full article by Alexandra Kharchenko. 

https://itsartlaw.org/art-law/flemish-governments-plan-to-dismantle-m-hkas-collection-in-the-name-of-centralization-of-art/ 

#centerforartlaw #artlaw #legal #artlawyer #legalresearch #artcuration #MHKA #artcuration
Thank you to all of our sponsors for all of their Thank you to all of our sponsors for all of their help in executing our 2026 Art Law Conference!!

#centerforartlaw #artlaw #legalresearch #2026annualconference #2026 #auction #nonprofit
This is the final day to bid in our Annual Art Law This is the final day to bid in our Annual Art Law Conference 2026 Silent Auction to support the Center's mission to advance artists’ rights and provide accessible legal resources to the artistic community. All proceeds go directly toward the Center’s programs, including our Summer Internship and ongoing educational initiatives. 

Don't miss out on the amazing pieces  and experiences up for grabs!

 Biding will end May 27 at 5:30pm ET.

1st: Floragen 2.0.1 by Colleen Hoffenbacker 
2nd: Jumping Frog by Vija Doks 
3rd: Untiled no.11( Amy Hollywood) by Andre Pace 

🖼️ Follow the link in our bio to begin bidding! 

#centerforartlaw #artlaw #legalresearch #2026annualconference #2026 #auction #nonprofit
  • 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