• 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
Maryan Kushnir Kyiv Jun 15 2026

Kyiv-Pechersk Lavra

World Heritage Site Attacked

Ukrainian museums and cultural centers, such as this 11th century UNESCO site are under attack. Learn about Cultural Heritage at Risk.

UNESCO Site
Center for Art Law

Follow us on Instagram for the latest in Art Law!

Recently one of our summer interns Cara Ianuale vi Recently one of our summer interns Cara Ianuale visited  the MET. Below is her thoughts on one item she saw within the Costume Art exhibition.👗💭⚖️

This fibrous dress in the MET’s Costume Art exhibition rests at the heart of an attribution dispute between artist Anouska Samms and designer Yoav Hadari. In May, Samms alleged that the MET did not rightfully credit her for Corpus Nervina 0.0, which bears significant resemblance to a work, Hair Dress, that she and Hadari created using her proprietary human hair-based textile she developed in 2019. The MET had expressed interest in acquiring Hair Dress in 2025, but plans fell through—according to Samms’ lawyer Jon Sharples, Hadari decided to withdraw Hair Dress and submit two other independently-designed garments instead.

Solely crediting Hadari, the label states that Corpus Nervina 0.0 is made of synthetic fibers, their scattered arrangement and wispy clusters meant to evoke the fragility of the human nervous system. Hadari claims that, while the garment was inspired by Hair Dress, its design, concept, and construction are entirely his own. The museum has declined involvement, indicating that the parties must first try to work it out on their own. For now, the label remains unchanged… 

📚 Check out more information on this topic using the link in our bio!
Learn about the Center's specialized resources ava Learn about the Center's specialized resources available on immigration and visas for artists!

Join the Center for Art Law at our Immigration Showcase, a free 30-minute webinar introducing the Center’s resources designed to support international visual artists navigating the U.S. immigration process.

Rakhel Milstein, Board Member at the Center and Founder of Milstein Law Group, will share brief remarks on recent immigration developments affecting artists, important policy considerations to keep in mind, and key issues for artists and creative professionals to watch. Atreya Mathur, Director of Legal Research at the Center, will introduce the Center’s upcoming Immigration Guide for Artists, available in July 2026. This comprehensive resource provides artists with an accessible overview of U.S. immigration pathways, including O-1 visas and other relevant options. The guide is designed to help artists better understand the immigration process, identify potential pathways, prepare more effectively, and recognize the importance of planning ahead when pursuing opportunities in the United States. Kameé Payton, the Center’s 2025-2026 Judith Bresler Fellow, will also share information about the Center’s Immigration Clinic, which provides artists with individualized support through one-on-one consultations to help them better understand their immigration options and access guidance tailored to their needs.

Join us to explore our resources and connect with the tools available to support artists navigating the U.S. immigration landscape. 

🎟️ Get tickets today using the link in our bio!!
Over 100 Benin bronzes housed at Cambridge Univers Over 100 Benin bronzes housed at Cambridge University have officially been returned to Nigeria. As university museums move forward with repatriation initiatives, larger, national institutions are left behind the curve due to statutory restrictions. From domestic legal roadblocks to internal ownership disputes, the road to restitution is rarely straightforward. 

📚 Head to the link in our bio to read The Observer's full breakdown of how Cambridge’s move puts pressure on the rest of the UK cultural sector.

📸: Adam Eastland / Alamy, University of Cambridge
Join us for an informative short lecture and pro b Join us for an informative short lecture and pro bono consultations to understand contracts with galleries and art dealers.

The Artist-Dealer Relationships Clinic helps artists and gallerists negotiate effective and mutually-beneficial contracts. By connecting artists and dealers to attorneys, this Clinic looks to forge meaningful relations and to provide a platform for artists and dealers to learn about the laws that govern their relationship, as well as have their questions addressed by experts in the field.

After a short lecture on an artist-dealer relationships topic, attendees with consultation tickets will be paired with one of the Center's volunteer attorneys for a confidential 20-minute consultation. Limited slots are available for the consultation sessions. 

🎟️ Grab tickets using the link in our bio!!
And finally...here's to our Undergrad Summer 2026 And finally...here's to our Undergrad Summer 2026 interns! 

Dylan Cosgrove is a rising undergraduate senior at the American University of Paris, pursuing a B.A. in Finance with minors in Art History and Economics. Drawing on experiences across fashion, law, and finance - alongside coursework at Sotheby's - her interests sit at the intersection of capital markets, legal frameworks, and cultural value. She has developed a particular interest in art finance and the mechanisms through which law shapes the movement and monetization of art, and looks forward to exploring these themes further as she advances her academic and professional career.

Natasha is an undergraduate student pursuing a BA in History of Art at The Courtauld Institute of Art, with a particular interest in Modern and Contemporary British art. She currently serves as Events Coordinator for The Courtauld’s Art Law Society. Her academic interests include intellectual property and copyright law, restitution, and the protection of architectural heritage. Since November 2025, she has also volunteered with the Centre’s Nazi-Looted Art Restitution Project, and looks forward to continuing her contribution to the project while also working across other areas of the center over the summer. 

Swipe through to learn more about this year's cohort and join us in welcoming them to the Center for Art Law! 👏
Say hello to the Center for Art Law's Summer 2026 Say hello to the Center for Art Law's Summer 2026 interns🗽

Victoria Cook is a second-year law student at Queen's University and a Philosophy graduate from St. Francis Xavier University whose background includes artist advocacy and arts administration. Her interests focus on cultural heritage and restitution, authentication, and copyright. 

@hannahegadway is a rising 2L at Harvard Law School and a Summer 2026 legal intern with the Center for Art Law. She graduated from Harvard College in 2025, where she majored in History & Literature. Hannah is interested in art law-related questions concerning museum provenance and the Internet. 

Ian Silverstein is a dual-degree candidate at Rutgers University, pursuing a J.D. at Rutgers Law School alongside a graduate degree in Cultural Heritage and Preservation Studies, with a certificate in Intellectual Property Law. He is a painter and visual artist and has conducted separate research on emotional and aesthetic responses to art. His museum research has been supported by the NEA, and he holds a certificate in Art as a Global Business from Sotheby's Institute of Art. Ian’s illustrations can be seen in the NYTimes shortlisted book by Andrew Shtulman, titled ‘Scienceblind: Why Our Intuitive Theories about the World Are So Often Wrong’. 

Eleanna Antonatou is an LLM candidate in Art, Business and Law at Queen Mary University of London and a Law LLB graduate from the University of Nottingham. Her experience spans vacation schemes at international law firms across London, Athens, and Geneva. Her interests centre on intellectual property, dispute resolution, and the regulation of cross-border art transactions. 

@rebecca.caitlin is a rising 2L J.D. candidate at New York University School of Law. She completed her undergraduate degree at Middlebury College, where she studied philosophy, English, & American literatures, writing a thesis on contemporary feminist poetry’s power to cultivate moral behaviors in readers. Rebecca is interested in the overlap of human rights and art law, and particularly in cultural heritage/cultural property law, repatriation and restitution of stolen or looted cultural objects, & museum law.
Say hello to the Center for Art Law's Summer 2026 Say hello to the Center for Art Law's Summer 2026 Graduate Interns🎓

Sam Brady-Myerov is a rising second-year master’s student in the History, Theory, and Criticism of Architecture and Art program at MIT. She earned her BA in Art History and Political Science from Washington University in St. Louis in 2025 and was awarded a Fulbright Research/Open Study Award to Brazil. Her work focuses on urban decoration and the negotiations through which artists, architects, institutions, and public and private actors shape shared visual space.

Sophia Molina is a recent graduate of Wesleyan University, where she studied History and Fine Art. Her academic and professional work focuses on the intersections of art and politics, with particular interests in museum provenance, cultural heritage preservation, and cultural diplomacy. She has conducted research and worked in communications roles at institutions including the National Museum of Women in the Arts and the National Trust for Historic Preservation.

Kira Hernandez is a recent graduate of Williams College, where she received her B.A. in Art History and Justice & Law Studies. Currently, Kira is pursuing a M.S. in Informatics at San Jose State University, where her research focuses primarily on museum informatics, collections management systems, and improving the integration of provenance research into public-facing databases.

Cara Ianuale is a recent graduate of Brown University, where she earned degrees in the History of Art & Architecture and English. Her senior thesis in art history explores how artist Sherrie Levine’s solo exhibition of rephotographed images challenges the foundations of copyright. She is broadly interested in the intersection of art and intellectual property, and intends to study law in New York. 

Lena Rohde is a recent graduate of NYU's Institute of Fine Arts, having just obtained her M.A. in the History of Art and Archaeology. She completed her undergraduate studies in 2024 with an Honours Art History and French degree from the University of St. Andrews. Her primary interests include cultural heritage protection, provenance and restitution, and intellectual property.
The passage of the Holocaust Expropriated Art Reco The passage of the Holocaust Expropriated Art Recovery (HEAR) Act was intended to help Holocaust survivors and their heirs pursue the recovery of artworks lost during the Nazi era. However, as recent litigation demonstrates, significant legal hurdles remain.

In Bennigson v. Solomon R. Guggenheim Foundation, courts grappled with questions of Nazi-era sales under duress, provenance research, and the equitable defense of laches. This case demonstrates the tension between historical justice and legal doctrines designed to protect defendants from stale claims.

📚 Click the link in our bio to read the complete article by Lauren Stein and Donyea James!

#centerforartlaw #artlaw #artrestitution #HEARAct #holocaustart #provenance #museumlaw #culturalheritage #legalresearch
On June 13, Center for Art Law Switzerland was pro On June 13, Center for Art Law Switzerland was proud to present the panel discussion Art Markets and the World in Transition — Frameworks Shaping Global Collecting as part of the official Zurich Art Weekend 2026 program @zurichartweekend 

Thank you to our speakers for such a rich and candid discussion:

@thomstauffer
@stefanputtaert 
@pascalrobertgallery 
@alanakushnir 
@willkorner 

The conversation covered cross-border collecting challenges, Switzerland's distinctive regulatory position on freeports and due diligence, the impact of AML regulation on galleries and fairs, generational shifts among collectors, and what a more transparent and legally sound international art market could look like, and was moderated by Irina Tarsis, Founder of Center for Art Law.

We're deeply grateful to our sponsors, whose support made this event possible: @t_transporte.zuerich, @artdomains, @smartstamp, TRACE, and The Edge.

Our thanks go as well to Landesmuseum Zürich for hosting us, and to the Zurich Art Weekend team for welcoming this panel as part of the official 2026 program. 

#centerforartlaw #artlaw #artlawyer #zürich #internationallaw #amlregulation #galleryissues
Murals have long been central to artistic expressi Murals have long been central to artistic expression, from ancient cave paintings to the large-scale public works of the Mexican Muralists and contemporary street artists. Despite their renown in art history, muralists do not often receive the same legal protections afforded to other visual artists.

Although recent legal developments have expanded federal protections for muralists under the Visual Artists Rights Act (VARA), many states continue to subject muralists to additional licensing requirements and regulations. California’s recent initiatives highlight ongoing efforts to address this disparity and raise broader questions about how the law defines artistic labor.

📚 Click the link in our bio to read the complete article by Walker Schulte Schneider!

#centerforartlaw #muralart #artlaw #VARA #muralists  #publicart #legalresearch #artistsrights
That’s a wrap on the 2026 Center for Art Law Summe That’s a wrap on the 2026 Center for Art Law Summer School! 🎉

Over five days in New York City, participants explored art law through lectures, discussions, site visits, and conversations with leading attorneys, scholars, appraisers, artists, and art market professionals.

From contracts and copyright to AI and provenance research, students gained a deeper understanding of the legal issues shaping today’s art world while building connections with peers who share similar passions.

Thank you to our speakers, hosts, sponsors, and participants for making this year’s Summer School such a success. We loved spending the week with you and look forward to seeing where your art law journeys take you next! ⚖️🎨🗽 

#centerforartlaw #artlaweyer #summerschool #artlaw #legalresearch
Thank you for joining us this Saturday for our pan Thank you for joining us this Saturday for our panel discussion at the Landesmuseum as part of the official program of Zurich Art Weekend 2026 @zurichartweekend 

With a fully booked audience, inspiring perspectives from leading voices @thomstauffer @stefanputtaert @alanakushnir @willkorner @pascalrobertgallery, and a warm welcome at an iconic venue, it was a truly memorable event! 

Thanks to everyone who came along - it was a blast💥 

Special thanks to our sponsors @smartstamp @t_transporte.zuerich, the Edge, TRACE and @artdomains!
  • 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

Become a Member

Since 2009, the Center for Art Law has organized hundreds of events and published over 1,200 relevant, accessible, and editorially independent articles. As a nonprofit working with artists and students, the Center for Art Law relies on your support to fund our work. Become a premium subscriber and gain access to discounts on events and archives of articles and/or hundreds of case summaries, intended for a worldwide audience of legal professionals, artists, researchers, and students.

Camille Pissarro, Rue St Honoré, apres midi, effet de pluie, 1897

Camille Pissarro, Rue St Honoré, apres midi, effet de pluie, 1897

$70 /per year

Case Law Corner

See All Benefits

Read case law summaries and enjoy unlimited access to our legendary Case Law Corner, now in a new and improved Database with over 700 entries.

Get this subscription
$75 /per year

Artist & Student Membership

See All Benefits
  • Access to all articles and past-event recordings
  • Access to our Case Law Database
  • Free and discounted access to events
Get this subscription
$150 /per year

Annual Subscription

See All Benefits
  • Access to all articles and past-event recordings
  • Access to Case Law Database
  • Free and discounted access to events
  • Discounts to third-party events
Get this subscription