• 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 Case Review: The Prosecutor v. Ahmad Al Faqi Al Mahdi
Back

Case Review: The Prosecutor v. Ahmad Al Faqi Al Mahdi

December 10, 2022

Accused jihadist leader Ahmad al-Faqi al-Mahdi, seen here in September, faces a trial at the International Criminal Court for crimes against humanity. ICC-CPI

Accused jihadist leader Ahmad al-Faqi al-Mahdi, seen here in September, faces a trial at the International Criminal Court for crimes against humanity. ICC-CPI

By Daniela Baiardi

Facts of the case are based on ICC court records.[1] For documents, news and recordings, visit HERE.

The mausoleum of Mohamed Mahmoud at the Cemetery of the Three Saints, destroyed by extremists in 2012. Copyright Minusma / Sophie Ravier
The mausoleum of Mohamed Mahmoud at the Cemetery of the Three Saints, destroyed by extremists in 2012. Copyright Minusma / Sophie Ravier

Background

In January 2012, armed violence took place in the territory of Mali and led to different armed groups taking control of the north of the country. Around early April 2012, the Islamic Maghreb called al-Qaeda and the Islamic Maghreb ‘AQIM’ took control of Timbuktu, Mali. In addition, it is home to one of the UNESCO world heritage sites, 16 mausoleums of Timbuktu (Mali), “due to its outstanding universal value as an African intellectual and spiritual capital in the 15th and 16th centuries.”[2] From January 2012 until January 2013 the AQIM imposed their religious and political edicts on the territory of Timbuktu and its people. They did so through a local government, which included an Islamic tribunal, an Islamic police force, a media commission, and a morality brigade called the Hesbah.

The case has been made against Ahmad Al Faqi Al Mahdi, who was responsible for destroying the cultural heritage sites. He belongs to a family that is known in his community for having extensive knowledge of Islam. Al Mahdi joined the armed group Ansar Dine at the beginning of April 2012. For relevance, Ansar Dine was formed in 2011 by Iyad Ag Ghali, who partook in the 1990 rebellion in Mali. The fusion of Ag Ghali and Ifoghas Tuareg gained the backing of al-Qaeda in the Islamic Maghreb (AQIM).[3] Al Mahdi was also in direct contact with the leaders of AQIM. Al Mahdi returned to Mali to provide help to these armed movements as an expert on matters of religion. He was also asked to lead the Hesbah. He wrote a document on the role of the Hesbah, which was entrusted with regulating the morality of the people of Timbuktu.[4]

The mausoleums of saints and mosques of Timbuktu were an integral part of the religious life of its inhabitants and represented a common heritage for the community. The mausoleums were a popular place for the residents as a place of prayer and, for some, places of pilgrimage.[5] The AQIM administration was interested in raising awareness among the population to stop such practices and, as the case may be, to prohibit them from pursuing them. Al Mahdi was asked to monitor the cemeteries visited by the residents.

In late June 2012, the AQIM administration made the decision to destroy the mausoleums. Al Mahdi was asked to conduct the attack as he was the leader of the Hesbah. Around June 30, 2012 and July 11, 2012, ten of the most important mausoleums of saints and mosques were attacked and destroyed on the orders of Al Mahdi and other individuals. All the destroyed sites were dedicated to religion and had been historic monuments dating back to the 15th and 16th century.[6] In addition, they were not military objectives, and most of the buildings had the status of protected UNESCO World Heritage sites.

A warrant was given on September 18, 2015 for Al Mahdi’s arrest from a single Judge of Pre-Trial Chamber I, International Court of Crime Chamber (ICC). He was held at The Hague ICC detention center until September 16, 2015. When he was caught, he was fully collaborative: he admitted to personally determining which buildings/monuments were to be attacked and how. Also, he had written and read a sermon dedicated to the destruction of the mausoleums.[7]

SITU Research is a studio that aims on putting together data and design to create a new path for justice, based in New York City, USA.(7) SITU Research teamed up with ICC to develop visual and special information about the case.[8] On the platform, all the offenses made by Al Mahdi are listed visually.

Photographs and video are presented alongside panoramic and satellite imagery, allowing for visual synthesis of related evidence. Source: ICC Digital Platform: Timbuktu, Mali (SITU.NYC)
Photographs and video are presented alongside panoramic and satellite imagery, allowing for visual synthesis of related evidence. Source: ICC Digital Platform: Timbuktu, Mali (SITU.NYC)

Decision

Al Mahdi was caught, surrendered to the ICC by the authorities of Niger, and then taken to the ICC Detention Centre in the Netherlands on September 26, 2015.[9]

The International ICC decided to give the sentence of nine years in detention in proportion to the gravity of the crime.(10) It’s The first time that the ICC has prosecuted cultural heritage destruction as a war crime under the Rome Statute of 1998. The Chamber highlighted that crimes against property are generally of less gravity than crimes against persons. They also highlighted the fact that the buildings destroyed were not only religious but also had another layer of value for the inhabitants of Timbuktu on an emotional and symbolic level. For the decision, the Chamber stated the following:

“…five mitigating circumstances, namely: (i) your admission of guilt; (ii) your cooperation with the Prosecution; (iii) the remorse and the empathy you expressed for the victims; (iv) your initial reluctance to commit the crime and the steps you took to limit the damage caused; and, (v) even if of limited importance, your good behavior in detention despite your family situation. Taking into account all these factors, the chamber, unanimously, sentences you to 9 years of imprisonment.”[10]

In accordance with an order of the ICC, the time Al Mahdi spent in detention following his September 18th arrest would be deducted from his sentence.[11] Mohamed Aouini represented Al Mahdi as defense counsel. Aouini has gained widespread recognition as a criminal lawyer. He is known for working in the case of Georges Ruggiu,who was a Belgian journalist working in Rwanda in 1994 and was accused of being connected to anti-Tutsi statements allegedly made in the course of his work as a radio broadcaster.[12]

The three judges that were assigned to the case were Judge Raul C. Pangalangan, Presiding Judge Antoine Kesia-Mbe Mindu, and Judge Bertram Schmitt.[13]

Update

On November 25, 2021, Al Mahdi’s case was reviewed to reduce his sentence. The Appel Chambers of the ICC, three judges: Judge Solomy Balungi Bossa, Presiding Judge Marc Perrin de Brichambaut and Judge Gocha Lordkipanidz. The focus of the review was for Al Mahdi to get two years reduced from his charges, therefore completing his sentence by the 18th September of 2022.[14]

This review was initiated because Article 110(3) of the Statute provides in relevant part that “[w]hen the person has served two thirds of the sentence, […] the court shall review the sentence to determine whether it should be reduced.”[15]

Other points that were highlighted during the review to reduce Al Mahdi’s sentence is if there is early and continuous cooperation, which also include voluntary cooperation, of the person with the investigation and prosecutors. Furthermore, Al Mahdi, while attending his sentencing, disassociated himself from the crime and did not create any problems while in prison with the staff or other prisoners.

A point made against Al Mahdi was that if he were to be freed into society again, he would be a disturbance to society. In response, he said would live in another country. Meanwhile, while in prison, he acquired new skills that would help him create a new life. The Republic of Mali opposed the release of Al Mahdi because the Mali community has not yet recovered from the wounds.

The Panel felt it was appropriate to reduce his sentences to two years, and he was released on September 18, 2022 instead of his original release date in 2024. The Panel also highlighted on that day that Al Mahdi will be released to take into consideration the concerns expressed by the Republic of Mali and the victims, in which country he would be released to.

Since their destruction, the mausoleums have been rebuilt. The planning of the operation from UNESCO started in 2013 with the help of many experts in the field. The reconstruction implementation started in 2014.[16] The project has also taken the path of peace:

“The reconstruction and restoration of the earthen architectural heritage of Timbuktu highlighted the potential of cultural heritage as a peace-building tool and to increase resilience.”[17]

The void of destruction does not create a healthy environment and it is a constant reminder of the past. It is through such projects of reconstructions of such spaces that give hope for the future of peace.

About the author: Daniela Baiardi (Center for Art Law International Class Intern, Summer 2022) is a Swiss Italian art historian doing her master’s degree in Theory and History of Art and Architecture at the Architecture Academy of Mendrisio, Switzerland. She is also doing an internship at the UNESCO Chair for ICT to develop and promote sustainable tourism in World Heritage Sites at University of Southern Switzerland (USI). In the future, she hopes to help protect cultural heritage.

The author would like to acknowledge input from Irina Strelkovskaya, Soleil Hawley and Paulina Picciano for their role in drafting this case review.

Select Sources:

  1. Prosecutor v. Al Mahdi, ICC-01/12-01/15, Judgment (Sept. 27, 2016). ↑
  2. Reconstruction of the destroyed mausoleums of Timbuktu (Mali), UNESCO World Heritage Convention, https://whc.unesco.org/en/canopy/timbuktu/#:~:text=About%20Timbuktu,Yahia%2C%20recall%20Timbuktu%27s%20golden%20age, Last Visited 12/04/2022 ↑
  3. Ansar Al-Din, European Council for Foregin Affairs, https://ecfr.eu/special/sahel_mapping/ansar_al_din, Last Visited 12/05/2022 ↑
  4. Prosecutor v. Al Mahdi, ICC-01/12-01/15, Judgment (Sept. 27, 2016). https://www.icc-cpi.int/sites/default/files/itemsDocuments/160926Al-MahdiSummary.pdf , page 3. ↑
  5. Ibid ↑
  6. Research, SITU, https://situ.nyc/research/profile, Last Visited 12/12/2022 ↑
  7. Prosecutor v. Al Mahdi, ICC-01/12-01/15, Judgment, p. 3 (Sept. 27, 2016). https://www.icc-cpi.int/sites/default/files/itemsDocuments/160926Al-MahdiSummary.pdf ↑
  8. ICC Report, ICC Mali SITU Platform, http://icc-mali.situplatform.com, Last Visited 12/12/2022. ↑
  9. Prosecutor v. Al Mahdi, ICC-01/12-01/15, Judgment (Sept. 27, 2016). https://www.icc-cpi.int/sites/default/files/CaseInformationSheets/Al-MahdiEng.pdfProsecutor v. Al Mahdi, ICC-01/12-01/15, Judgment (Sept. 27, 2016). https://www.icc-cpi.int/sites/default/files/itemsDocuments/160926Al-MahdiSummary.pdf page 17. ↑
  10. Prosecutor v. Al Mahdi, ICC-01/12-01/15, Judgment (Sept. 27, 2016). https://www.icc-cpi.int/sites/default/files/itemsDocuments/160926Al-MahdiSummary.pdf page 18 ↑
  11. Ibid. ↑
  12. Mohamed Aouini, The Special Tribunal for Lebanon, https://www.stl-tsl.org/en/about-the-stl/biographies/mohamed-aouini , Last Visited 12/04/2022 ↑
  13. Prosecutor Vs. Ruggiu, (ICTR-97-32), Judgement (June 1, 2000). https://ijrcenter.org/international-criminal-law/ictr/case-summaries/ruggiu/ ↑
  14. Judge Bertram Schmitt, International Criminal Court, https://www.icc-cpi.int/judges/judge-bertram-schmitt, Last Visited 12/04/2022 ↑
  15. Prosecutor v. Al Mahdi, ICC-01/12-01/15-434-Red3 25-11-2021 1/26 EC RW (25 Nov. 2021). https://www.icc-cpi.int/sites/default/files/CourtRecords/CR2021_10958.PDF ↑
  16. Ibid ↑
  17. Available at UNESCO World Heritage Convention, https://whc.unesco.org/en/canopy/timbuktu/, see also T. Joffroy and B. Essayouti – LESSONS LEARNT FROM THE RECONSTRUCTION OF THE DESTROYED MAUSOLEUMS OF TIMBUKTU, MALI(The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Volume XLIV-M-1-2020, 2020 HERITAGE2020 (3DPast | RISK-Terra) International Conference), https://hal.archives-ouvertes.fr/hal-02928898/document. ↑

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 Spotlight: Swiss Federal Council Approves Creation of an Independent Commission on Nazi Looted Art
Next The New York Publicity Bill, Oh Boy: A Balanced Scale for the Entertainment Industry?

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
 

Loading Comments...
 

You must be logged in to post a comment.