• 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 Fiscal Sponsorship for Creatives
Back

Fiscal Sponsorship for Creatives

December 2, 2021

By Marissa Hong

When most people envision exhibited art pieces, they picture paintings or drawings hanging on white walls in a museum. Alternatively, an arts project called Bed & Breakfast[1] showcases artists’ works in the bedroom of a personal household. Founded in 2012 and located in Los Angeles, Bed & Breakfast provides mixed media artists with the chance to put on their own exhibitions — repurposing the traditional private bedroom space and challenging the conventional way of viewing art. This article will dive into the question: but wait, how is this project made possible? More specifically, how is it financially supported? The answer: fiscal sponsorship. Through Fulcrum Art’s EMERGE Fiscal Sponsorship, Bed & Breakfast receives help in obtaining donations to maintain the project’s longevity.

What is Fiscal Sponsorship?

Fiscal sponsors are nonprofit organizations that are willing to serve as intermediaries between the source of funds and the artist. Specifically, they can provide artists or arts organizations with financial, legal, and/or administrative assistance for their projects.

Fiscal sponsorship occurs when a non-profit organization with a 501(c)(3) Internal Revenue Code tax-exemption status provides “fiduciary oversight, financial management, and other administrative services to help build the capacity of charitable projects.”[2] In terms of the art world, arts organizations and artists have the opportunity to apply for fiscal sponsors when they have creative projects that they want to carry out, but do not necessarily have the financial means and lack a 501(c)(3) status.[3] By having a fiscal sponsor, the group or individual would be able to receive charitable donations, foundation grants, or gifts that are only available for those with a tax-exemption status.[4] When an organization agrees to fiscally sponsor an arts organization or artist, it will use their 501(c)(3) status to accept funds on the non-tax exempt group or individual’s behalf.[5] The two most common types of models are pre-approved grant sponsorship and comprehensive fiscal sponsorship. In a comprehensive fiscal sponsorship, the sponsor owns the project; therefore, the 501(c)(3) organization becomes completely in charge of the project’s legal and fiduciary responsibilities.[6] On the contrary, in a pre-approved grant sponsorship, the project is independent from the 501(c)(3) organization, which allows an artist to maintain ownership.[7]

General Process

Of course, 501(c)(3) status arts organizations cannot fiscally sponsor every artist that approaches their group. In fact, many tax-exempt non-profits will choose who to fiscally sponsor based on a set of criteria. For example, most funding sources only agree to take on projects that align with their organization’s mission and purpose in order to avoid the chances of potentially having their 501(c)(3) status revoked.[8] Additionally, some arts organizations require the artist to create non-commercial work and serve the public.[9]

However, there are other criteria when choosing a fiscal sponsor besides fitting the description of a tax-exempt organization’s ideal candidate or meeting its requirements. Prior to submitting a project proposal to ask the charity for fiscal sponsorship, it is common to research the non-profit to ensure it is reputable, experienced, and offers appropriate assistance.[10] Distinguished websites with comprehensive fiscal sponsorship programs already in place may suggest that the organizations have knowledge on the matter and an understanding of the relationship between a fiscal sponsor and the sponsored.[11] As a result, the fiscal sponsorship process is more likely to run smoother and stay in check. Additionally, according to the Public Counsel Law Center, “it is very important to have a written agreement or memorandum of understanding signed by both the Sponsor and the Project before beginning to operate under a fiscal sponsorship to make sure that both the Sponsor’s and the Project’s rights and responsibilities are clear and to avoid any misunderstandings.”[12] A written agreement or memorandum provides documentation of the sponsorship, which would be necessary to show if audited by the IRS or requested by a potential donor.[13] For the artist’s or arts organization’s sake, it would provide exit provisions, preventing mistreatment, ambiguity, or confusion when the sponsored individual or group wants the sponsorship to end.[14] Without written agreements, arts organizations and artists face the possibility of losing discretion and control over their creative project if they fail to create an adequate contract.[15] Moreover, NEO Law Group suggests doing due diligence by reviewing the sponsor’s policies and fees mentioned in the agreement to avoid being unfairly treated throughout the fiscal sponsorship process.[16]

Arts Organizations with Fiscal Sponsorship Programs

In the U.S. alone, there exist numerous 501(c)(3) arts organizations with comprehensive fiscal sponsorship programs already in place. Their websites include information such as eligibility, benefits, terms, and/or direct steps to applying for fiscal sponsorship online. Resources and tools are available to filmmakers, visual artists, dancers, and other creatives whose projects need assistance, particularly financial help, in order to either begin or sustain. Although 501(c)(3) non-profit organizations do monetarily benefit from fiscal sponsorship by receiving a small portion of the funds raised, they offer their assistance because they believe in the purpose behind the sponsored project and want to see the project fully fledged. Thus, prior to choosing a fiscal sponsorship program, arts organizations and artists should take into consideration their project’s intentions and goals. Once decided, it is then appropriate to choose a 501(c)(3) non-profit that best aligns with the project’s mission and suits its needs.

Here are just a few out of the many 501(c)(3) arts organizations with fiscal sponsorship programs taking applications:

Fractured Atlas

Fractured Atlas is a New York-based 501(c)(3) non-profit technology company with the hopes of making “the journey from inspiration to living practice more accessible and equitable for artists and creatives.”[17] In addition to offering online donations and funds, its fiscal sponsorship program provides “free educational resources, constructive feedback on fundraising materials, and expert staff to help you achieve your fundraising goals.”[18] Performance artists, such as Artistactivist’s Widowsweave project, and filmmakers, such as Jean Franco’s Cruel Modernity, are currently sponsored by Fractured Atlas.

Alliance of Artists Communities

Alliance of Artists Communities is an international 501(c)(3) non-profit arts organization with the mission “to advocate for and support artists’ communities, in order to advance the endeavors of artists.”[19] Their website contains a step-by-step guide to applying for fiscal sponsorship with the Alliance, laying out what to expect before, during, and after signing the contract.[20] Rather than working with specific artists, this organization sponsors art programs, such as the Golden Apply Art Residency in Maine and the Arteles Creative Center in Finland.

Fulcrum Arts

Fulcrum Arts is another 501(c)(3) non-profit arts organization located in Los Angeles with the mission to “champion creative and critical thinkers at the intersection of art and science to provoke positive social change and contribute to a more vibrant and inclusive community.”[21] The group specifically helps with “crowdsourcing campaigns, including Kickstarter and Indiegogo,” provides “[a]ccess to a database of thousands of local, national, and international foundations,” and offers additional project resources.[22]

The Women Make Movies Production Assistance Program

Lastly, The Women Make Movies Production Assistance Program is a New York-based 501(c)(3) non-profit feminist media arts organization that strives to “develop and support women producing independent media.”[23] As a result of the program being limited to filmmaking, the criteria are more specific. For example, the website states that projects are chosen based on the strength of storytelling, distribution potential, quality of sample, and more.[24]

While each of these arts organizations have their own specialized way of advocating for artists, they all acknowledge the power of fiscal sponsorship to help spread the stories and ideas of long-lived creatives. In the case of Bed & Breakfast, fiscal sponsorship plays a critical role in allowing for the project to continue flourishing over the many years. At the end of the day, all artists really want is to see their projects exist in this world. With fiscal sponsorship, they are one step closer.

List of Additional Fiscal Sponsorship Programs:

“Fiscal Sponsorship.” Arts Connection.

“Fiscal Sponsorship.” Brooklyn Arts Council.

“Fiscal Sponsorship.” Center for Independent Documentary.

“Fiscal Sponsorship.” National Endowment for the Arts.

“Fiscal Sponsorship.” NEO Creative. Inspired Philanthropy.

“Fiscal Sponsorship.” New York Women in Film and Television.

“Raise Funds as an Individual Artist or for an Emerging Arts Organization.” NYFA, (Sept. 29, 2021).

Nationwide Fiscal Sponsorship Directory:

“All Fiscal Sponsors.” Fiscal Sponsor Directory, Art Without Limits.

About the Author:

Marissa Hong is the Fall 2021 Development Intern at the Center for Art Law. She is a senior at the University of California, Los Angeles studying art and arts education. Marissa hopes to pursue a career in art law protecting the rights of living artists who generously share their ideas to the world. She can be reached at pvmarissa@gmail.com.

  1. Bed and Breakfast, http://bedandbreakfast.life (last visited Nov. 28, 2021). ↑
  2. Fiscal Sponsorship for Nonprofits, National Council of Nonprofits, https://www.councilofnonprofits.org/tools-resources/fiscal-sponsorship-nonprofits (Sept. 15, 2020). ↑
  3. What Is Fiscal Sponsorship? How Do I Find a Fiscal Sponsor?: Knowledge Base, Candid Learning, https://learning.candid.org/resources/knowledge-base/fiscal-sponsorship/ (last visited Nov. 9, 20201). ↑
  4. We Help Raise Funds for Creative Projects, Fiscal Sponsorship, https://www.fracturedatlas.org/site/FiscalSponsorship/ (last visited Nov. 9, 20201). ↑
  5. Philanthropy Chat: Juliana Steele on Fiscal Sponsorship for Artists, SoundCloud, https://soundcloud.com/user-695930385/phil-chat-steele-fiscal-spon-artists (last visited Nov. 9, 20201). ↑
  6. National Network of Fiscal Sponsors: Guidelines for Comprehensive Fiscal Sponsorship, National Network of Fiscal Sponsors, http://bedandbreakfast.life (last visited Nov. 9, 2021). ↑
  7. Stephen Fishman, The Pros and Cons of a Fiscal Sponsor for Nonprofits, Nolo, https://www.nolo.com/legal-encyclopedia/the-pros-cons-fiscal-spohttps://s3.amazonaws.com/nnfs/file_assets/d0758100838a/NNFS%20Guidelines%20for%20Comprehensive%20Fiscal%20Sponsorship.pdfnsor-nonprofits.html (last visited Nov. 9, 2021). ↑
  8. Fiscal Sponsorship: An Alternative to Forming a Nonprofit, Public Counsel Law http://www.publiccounsel.org/tools/publications/files/fiscal_sponsor.pdf Center, (Feb. 2009). ↑
  9. Artist FAQ, The Field, https://www.thefield.org/faq/ (Aug. 27, 2021); Fractured Atlas, Inc, Candid, https://www.guidestar.org/profile/11-3451703 (last visited Nov. 9, 2021). ↑
  10. So you’re considering fiscal sponsorship?, New York Lawyers for the Public Interest, https://nylpi.org/wp-content/uploads/2018/11/Guide-to-fiscal-sponsorship.pdf (Sept. 2014). ↑
  11. Id. ↑
  12. Supra note 8, at 4. ↑
  13. Steven Chiodini, GET IT IN WRITING, https://fiscalsponsorship.com/2021/08/get-it-in-writing/ (Aug, 30, 2021). ↑
  14. Id. ↑
  15. A Board’s Guide to Fiscal Sponsorship, Propel Nonprofits, https://www.propelnonprofits.org/resources/a-boards-guide-to-fiscal-sponsorship/ (2021). ↑
  16. Gene Takagi, Fiscal Sponsorship: Six Ways to Do It Wrong, NEO Law Group, https://nonprofitlawblog.com/fiscal-sponsorship-six-ways-to-do-it-wrong/ (Jan. 26, 2015). ↑
  17. Fractured Atlas, Inc., GuideStar by Candid, https://www.guidestar.org/profile/11-3451703 (last visited Nov. 9, 2021). ↑
  18. Supra note 4. ↑
  19. Alliance of Artists Communities, GuideStar by Candid, https://www.guidestar.org/profile/58-2138525 (last visited Nov. 9, 2021). ↑
  20. Fiscal Sponsorship, Artist Community Alliance, https://artistcommunities.org/fiscal-sponsorship (2021). ↑
  21. Fulcrum Arts:Mission, https://www.fulcrumarts.org/about/ (last visited Nov. 9, 2021). ↑
  22. Fulcrum Arts: Services, https://www.fulcrumarts.org/fiscal-sponsorship/ (last visited Nov. 9, 2021). ↑
  23. Production Assistance Program, Women Make Movies, https://www.wmm.com/pa-program/ (last visited Nov. 9, 2021). ↑
  24. Id. ↑

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 Intellectual Property Protection and Ownership of Color in Immersive Art
Next A Case of Forgeries at the Herbert Hoover

Related Posts

Interns in the Arts

April 29, 2014

Artists, Not Judges, Should Decide Fair Use: Select Implications of the Cariou-Sconnie Nation Deviation

April 2, 2015
logo

Authentic Ansel Adams?

December 19, 2010
Center for Art Law
Center for Art Law

Follow us on Instagram for the latest in Art Law!

Don't forget to grab tickets to our upcoming Collo Don't forget to grab tickets to our upcoming Colloquium, discussing the effectiveness of no strike designations in Syria, on February 2nd. Check out the full event description below:

No strike designations for cultural heritage are one mechanism by which countries seek to uphold the requirements of the 1954 Hague Convention. As such, they are designed to be key instruments in protecting the listed sites from war crimes. Yet not all countries maintain such inventories of their own whether due to a lack of resources, political views about what should be represented, or the risk of misuse and abuse. This often places the onus on other governments to create lists about cultures other than their own during conflicts. Thus, there may be different lists compiled by different governments in a conflict, creating an unclear legal landscape for determining potential war crimes and raising significant questions about the effectiveness of no strikes as a protection mechanism. 

Michelle Fabiani will discuss current research seeking to empirically evaluate the effectiveness of no strike designations as a protection mechanism against war crimes in Syria. Using data on cultural heritage attacks from the height of the Syrian Conflict (2014-2017) compiled from open sources, a no strike list completed in approximately 2012, and measures of underlying risk, this research asks whether the designations served as a protective factor or a risk factor for a given site and the surrounding area. Results and implications for holding countries accountable for war crimes against cultural heritage are discussed. 

🎟️ Grab tickets using the link in our bio!

#centerforartlaw #artlaw #culturalheritage #lawyer #legalreserach #artlawyer
Don't miss our up coming in-person, full-day train Don't miss our up coming 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! 

#centerforartlaw #artlaw #legal #research #lawyer #artlawyer #bootcamp #copyright #CLE #trainingprogram
In order to fund acquisitions of contemporary art, In order to fund acquisitions of contemporary art, The Phillips Collection sold seven works of art from their collection at auction in November. The decision to deaccession three works in particular have led to turmoil within the museum's governing body. The works at the center of the controversy include Georgia O'Keefe's "Large Dark Red Leaves on White" (1972) which sold for $8 million, Arthur Dove's "Rose and Locust Stump" (1943), and "Clowns et pony" an 1883 drawing by Georges Seurat. Together, the three works raised $13 million. Three board members have resigned, while members of the Phillips family have publicly expressed concerns over the auctions. 

Those opposing the sales point out that the works in question were collected by the museum's founders, Duncan and Marjorie Phillips. While museums often deaccession works that are considered reiterative or lesser in comparison to others by the same artist, the works by O'Keefe, Dove, and Seurat are considered highly valuable, original works among the artist's respective oeuvres. 

The museum's director, Jonathan P. Binstock, has defended the sales, arguing that the process was thorough and reflects the majority interests of the collection's stewards. He believes that acquiring contemporary works will help the museum to evolve. Ultimately, the controversy highlights the difficulties of maintaining institutional collections amid conflicting perspectives.

🔗 Click the link in our bio to read more.
Make sure to check out our newest episode if you h Make sure to check out our newest episode if you haven’t yet!

Paris and Andrea get the change to speak with Patty Gerstenblith about how the role international courts, limits of accountability, and if law play to protect history in times of war.

🎙️ Click the link in our bio to listen anywhere you get your podcasts!
Alexander Butyagin, a Russian archaeologist, was a Alexander Butyagin, a Russian archaeologist, was arrested by Polish authorities in Warsaw. on December 4th. Butyagin is wanted by Ukraine for allegedly conducting illegal excavations of Myrmekion, an ancient city in Crimea. Located in present-day Crimea, Myrmekion was an Ancient Greek colony dating to the sixth century, BCE. 

According to Ukrainian officials, between 2014 and 2019 Butyagin destroyed parts of the Myrmekion archaeological site while serving as head of Ancient Archaeology of the Northern Black Sea region at St. Petersburg's Hermitage Museum. The resulting damages are estimated at $4.7 million. Notably, Russia's foreign ministry has denounced the arrest, describing Poland's cooperation with Ukraine's extradition order as "legal tyranny." Russia invaded and annexed Crimea in 2014.

🔗 Read more by clicking the link in our bio

#centerforartlaw #artlaw #artcrime #artlooting #ukraine #crimea
Join us on February 18th to learn about the proven Join us on February 18th to learn about the provenance and restitution of the Cranach painting at the North Carolina Museum of Art.

A beloved Cranach painting at the North Carolina Museum of Art was accused of being looted by the Nazis. Professor Deborah Gerhardt will describe the issues at stake and the evidentiary trail that led to an unusual model for resolving the dispute.

Grab your tickets today using the link in our bio!

#centerforartlaw #artlaw #legal #legalresearch #museumissues #artwork
“In the depth of winter, I finally learned that wi “In the depth of winter, I finally learned that within me there lay an invincible summer."
~ Albert Camus, "Return to Tipasa" (1952) 

Camus is on our reading list but for now, stay close to the ground to avoid the deorbit burn from the 2026 news and know that we all contain invincible summer. 

The Center for Art Law's January 2026 Newsletter is here—catch up on the latest in art law and start the year informed.
https://itsartlaw.org/newsletters/january-newsletter-which-way-is-up/ 

#centerforartlaw #artlaw #lawyer #artlawyer #legalresearch #legal #art #law #newsletter #january
Major corporations increasingly rely on original c Major corporations increasingly rely on original creative work to train AI models, often claiming a fair use defense. However, many have flagged this interpretation of copyright law as illegitimate and exploitative of artists. In July, the Senate Judiciary Committee on Crime and Counterterrorism addressed these issues in a hearing on copyright law and AI training. 

Read our recent article by Katelyn Wang to learn more about the connection between AI training, copyright protections, and national security. 

🔗 Click the link in our bio to read more!
Join the Center for Art Law for an in-person, all- Join the Center for Art Law for an in-person, all-day  CLE program to train lawyers to work with visual artists and their unique copyright needs. The bootcamp will be led by veteran art law attorneys specializing 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!
Our interns do the most. Check out a day in the li Our interns do the most. Check out a day in the life of Lauren Stein, a 2L at Wake Forest, as she crushes everything in her path. 

Want to help us foster more great minds? Donate to Center for Art Law.

🔗 Click the link below to donate today!

https://itsartlaw.org/donations/new-years-giving-tree/ 

#centerforartlaw #artlaw #legal #legalresearch #caselaw #lawyer #art #lawstudent #internships #artlawinternship
Paul Cassier (1871-1926 was an influential Jewish Paul Cassier (1871-1926 was an influential Jewish art dealer. He owned and ran an art gallery called Kunstsalon Paul Cassirer along with his cousin. He is known for his role in promoting the work of impressionists and modernists like van Gogh and Cézanne. 

Cassier was seen as a visionary and risk-tasker. He gave many now famous artists their first showings in Germany including van Gogh, Manet, and Gaugin. Cassier was specifically influential to van Gogh's work as this first showing launched van Gogh's European career.

🔗 Learn more about the impact of his career by checking out the link in our bio!

#centerforartlaw #artlaw #legalresearch #law #lawyer #artlawyer #artgallery #vangogh
No strike designations for cultural heritage are o No strike designations for cultural heritage are one mechanism by which countries seek to uphold the requirements of the 1954 Hague Convention. As such, they are designed to be key instruments in protecting the listed sites from war crimes. Yet not all countries maintain such inventories of their own whether due to a lack of resources, political views about what should be represented, or the risk of misuse and abuse. This often places the onus on other governments to create lists about cultures other than their own during conflicts. Thus, there may be different lists compiled by different governments in a conflict, creating an unclear legal landscape for determining potential war crimes and raising significant questions about the effectiveness of no strikes as a protection mechanism. 

This presentation discusses current research seeking to empirically evaluate the effectiveness of no strike designations as a protection mechanism against war crimes in Syria. Using data on cultural heritage attacks from the height of the Syrian Conflict (2014-2017) compiled from open sources, a no strike list completed in approximately 2012, and measures of underlying risk, this research asks whether the designations served as a protective factor or a risk factor for a given site and the surrounding area. Results and implications for holding countries accountable for war crimes against cultural heritage are discussed. 

🎟️ Grab your tickets using the link in our bio!

#centerforartlaw #artlaw #artlawyer #legalresearch #lawyer #culturalheritage #art #protection
  • 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