• 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 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

Gelman Collection Case Article
Art law

From National Treasure to Asset Class: The Gelman Collection’s Case

July 8, 2026
Seymour Fogel Wealth of the Nation
Art law

Selling America’s Sistine Chapel: The Trump Administration’s Effort to Sell Federal Buildings and the Artworks Trapped Inside

July 2, 2026
Fig1 Reflecting Pool from Lincoln Mem
Art law

Beautification Out of the (American Flag) Blue: The Lawsuit That Attempted to Halt the Reflecting Pool Makeover

July 2, 2026
Center for Art Law
ART x LAW SCHOOL instagram

Summer School in Zurich?

Join us

This five-day intensive program combines classroom and lecture format.

Learn MORE
Center for Art Law

Follow us on Instagram for the latest in Art Law!

July 2026, another month of, well, fill in the bla July 2026, another month of, well, fill in the blank.

Summer is for cherries, weddings, garden parties, catching up on reading and catching up with friends. And yet the worst of humanity keeps getting in the way of enjoying what the season brings. The heat so many of us feel right now, in the air, in the headlines, is at times unbearable and frankly unnecessary. Some of it comes from nature; too much of it is man-made.

It is so much harder to build, protect or preserve than to destroy. This month, we invite you to read the latest articles from the Center, including stories inspired by the 250th anniversary of the United States of America, meet our Summer Team, and stay tuned for upcoming events, including a colloquium with Konstantin Akinsha on Ukrainian art and cultural heritage under assault. Thank you, as always, for caring for and protecting art and cultural heritage. 

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 #july #legalresearch
What happens when the world's most famous anonymou What happens when the world's most famous anonymous artist is no longer anonymous?

One of our latest articles examines the legal and cultural implications of Banksy's unmasking, exploring how anonymity shaped the reception of his work and what this revelation may mean for the future of his career. More broadly, this piece explores how Banksy’s anonymity functioned within a culture increasingly defined by visibility and personal branding.

📚 Click the link in our bio to read the complete article by Afroditi Karatagli

#centerforartlaw #banksy #artlaw #streetart #copyrightlaw #freedomofexpression #contemporaryart #artmarket #legalresearch
Grüezi mitenand 👋 Center for Art Law Switzerland i Grüezi mitenand 👋 Center for Art Law Switzerland is introducing ART x LAW INTENSIVE!

Globalization is reshaping the art world, and with it comes a growing need for legal literacy across the market’s key players. Join us in the heart of Europe for a five-day deep dive into the legal frameworks shaping today’s art world.

Location: Zurich 
Hosting Partners: museums, law firms, galleries, universities, and artist studios
Dates: September 1–5, 2026

🎓 Taught by leading art law practitioners: transactional and litigation attorneys, art dealers, law professors and provenance researchers

Ideal for law and pre-law students, young attorneys, and art world professionals ready to build both knowledge and network.

Applications open between July 7 - 31, decisions on selected participants announced by August 10.

Language: English | Cost: CHF 2,500

Link in bio to apply, or reach us at zurich@itsartlaw.org

#ArtLaw #ArtLawSchool #Zurich #ArtMarket #Provenance Restitution Copyright ArtAndTech SummerSchool CenterForArtLaw
On the United States 250th Anniversary make sure t On the United States 250th Anniversary make sure to check out our article by @hannahegadway: "Art Law at America 250: Gilbert Stuart’s Art Battles and National Imagination"

📚 Click the link in our bio to read the full article!

#centerforartlaw #artlaw #artlawyer #250 #unitedstates #4thofjuly #newarticle
Learn about art and cultural heritage destroyed or Learn about art and cultural heritage destroyed or damaged by the ongoing war.

Since Russia's full-scale invasion of Ukraine began in February 2022, hundreds of museums, churches, archaeological sites, libraries, monuments, and historic buildings have been damaged or destroyed. As of July 1 2026, UNESCO had verified damage to more than 540 cultural sites across Ukraine, underscoring the unprecedented threat facing the country's cultural heritage. 

🎟️ Grab tickets using the link in our bio! 

#centerforartlaw #artlaw #artlawyer #internationallaw #artcrime #culturalheritage
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.
  • 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

Loading Comments...

You must be logged in to post a comment.