• 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 Cultural Heritage image/svg+xml 2021 Timothée Giet Social Media: A Smuggler’s Tool For Looted Antiquities
Back

Social Media: A Smuggler’s Tool For Looted Antiquities

June 16, 2020

By Lucy Siegel.

Social media allows us to connect in a matter of seconds with people all over the world, ranging from fan pages discussing niche interests to hashtags used to organize political protests. However, illegal activity through social media is made easier by the anonymous nature of virtual interactions. The black market has made its way to sites like Facebook, where illegal items are publicly advertised and sold on online marketplaces, including looted antiquities.

The Problem: Illegal Artifacts for Sale

In July of 2017, the arts and crafts supplies store Hobby Lobby came under fire after multiple occasions of illegal antiquities trafficking.[1] With thousands of artifacts and multiple lawsuits involving specific dealers and well known auction houses, the reality of the global antiquities trafficking trade entered the public eye. Hobby Lobby ended up in trouble by failing to secure reliable provenance.[2] When an antiquity, a collectable object of certain age and artistic value, is offered for sale, savvy buyers verify title and authenticity of the piece by checking its provenance, or the record of all previous owners of an object artwork.[3] It helps buyers understand the ownership history of a work and confirms the seller is legally in possession of the piece and able to sell it. In the Hobby Lobby instance, shady provenance and unreliable dealers allowed black market artifacts to be exchanged across continents. The revenue from the sale of illegal antiquities, meaning cultural items trafficked by museum robbers and archaeological site looters, is estimated to be between $3 and $5 billion annually.[4]

Looting and Selling Explained

The Antiquities Coalition, a US-based organization working to develop better laws and policies concerning international antiquities trafficking, boils the process of antiquities trafficking down to four steps.[5]

  1. A regional broker organizes a looting at a source location and delivers an artifact to a regional trade hub.
  2. Organized criminal groups purchase the objects from brokers and deliver them to a border city.
  3. A receiver takes the artifact to a major city.
  4. Finally, an “internationally connected dealer” who works in both the illicit and licit antique trades sells the artifact. This final step is essentially erased through online platforms, including Facebook, where items can be sold virtually with just the tap of a button. The direct transfer from thief to buyer can now happen online, evading law enforcement and art sale regulations.

Facebook: A Trafficking Enabler?

Since the unrest during the Arab Spring protests across the Middle East in 2011, Facebook has been used to facilitate illegal antiquities trafficking. Sellers are able to post descriptions of the objects in Facebook marketplace groups and respond to inquiries on separate messaging apps.[6] Prospective buyers may also post ideal types of artifacts for looters to find, and some posts even include instructions for aspiring looters. According to the ATHAR Project (explained below), over 95 Facebook groups have been flagged for illegal activity relating to antiquities trafficking, with over 1.8 million Facebook group members potentially involved in trafficking.[7]

Antiquities are not the only things being trafficking on Facebook, which hosts a plethora of illegal activity, ranging from human trafficking to illegal drug sales. In 2019, Facebook released statements claiming to be taking measures to combat illegal activity and weed out criminal groups with algorithms and a 30,000 person team. Yet, Facebook CEO Mark Zuckerberg claims he and the site are immune from any legal repercussions because of Section 230 of the Communications Decency Act of 1996, which suggests tech companies should not be held liable for third party content, i.e. anything posted by Facebook users.[8]

Yet there is an even darker side of the illegal antiquities market. In many cases, the looters responsible for acquiring the relics and the people lining their pockets with profits are connected to terrorist groups. Extremist groups in Syria, some connected to ISIS and Al Qaeda, are benefiting from antiquities trafficking on Facebook.[9] Some estimates suggest ISIS has profited up to $100 million from antiquities smuggling.[10] ISIS began smuggling illegal artifacts in 2014 after losing access to lucrative oil fields, initially pillaging the ancient city of Palmyra, then selling the priceless goods to primarily Western buyers. ISIS allegedly approves individuals to sell the looted goods, then ships the goods through a series of countries to shroud their initial locations.

ATHAR Project

Numerous independent organizations are working to stop the practice of antiquities smuggling. The ATHAR Project is the one of the leading groups dedicated to exposing and ending the trade. ATHAR, short for Antiquities Trafficking and Heritage Anthropology Research, is also the Arabic word for “antiquities.”[11] The ATHAR Project is led by a team of anthropologists and heritage experts who work to identify platforms and actors involved in illegal antiquities trafficking.

In a discussion with the Center for Art Law, Director Katie Paul explains the ATHAR Project “does not receive funding[;] we founded it after we first started examining antiquities trafficking on Facebook and realized the importance of documenting the activity and material we were seeing. We all have day jobs and do work tracking Facebook antiquities groups on nights, weekends, whenever we have free time.” The Project is affiliated with the Alliance to Counter Crime Online, a group dedicated to researching the connection between terrorism and Facebook black markets.[12]

In 2019, the ATHAR Project produced a report that revealed the startling depth of the Facebook antiquities trade and which identified 95 groups enabling trafficking and revealed the connection between traffickers and terrorist groups. Additionally, the Project found members of these illegal marketplaces included people with connections to Syrian-based militant groups like Hay’at Tahrir Al Sham (HTS), Hurras Al-Din, the Zinki Brigade and other non-Syrian-based groups like Al-Qaeda or Islamic State in Iraq and Syria (ISIS) affiliates. Furthermore, the majority of posts in a case study group came from conflict zones (36%) or locations bordering conflict zones (44%).

Screenshot of a Facebook antiquities smuggling group.
Photo courtesy of ATHAR Project

With almost 500 individual admins managing the total 1,947,195 members across all 95 Facebook groups[13], some shrouded behind avatars, it is difficult to imagine a solution without Facebook actively working to shut these groups down. The ATHAR Project’s report notes that Facebook’s community guidelines condemn the sale of black-market items, but do not specify policies about the trafficking of cultural property. In fact, Facebook’s algorithms make it even easier to find trafficking groups by recommending more trafficking groups once a user is admitted into one.[14] Paul says, “we have been in touch with Facebook about this and encouraged them to develop a policy. But we also encouraged them to preserve the existing content that is on Facebook, it is critical evidence of trafficked artifacts.” If Facebook just deletes the groups once illegal activity is discovered, essential evidence is wiped away.

The ATHAR Project, in conjunction with the Center on Illicit Network and Organized Crime, contributed to a recent filing in late May, 2020 against Facebook with the Securities and Exchange Commission (SEC) about the trade of illegal antiquities on Facebook.[15] The complaint highlights Facebook’s alleged misleading of investors and the public concerning their actions to counter crime on the site. Additionally, the press review explaining the complaint alleges Facebook makes intentional business decisions to propagate illegal activity instead of taking measures to reduce the black market’s reliance on Facebook. This most recent filing builds on two prior filings to the SEC from Facebook whistleblowers, but was filed intentionally right before the Facebook shareholders meeting to raise awareness about Facebook’s facilitation of the illegal antiquities trade.[16]

Screenshot of a Facebook antiquities trafficking group.
Photo courtesy of ATHAR Project

A Worldwide Response

The ATHAR Project is a leading actor in the fight to protect cultural property and end antiquities trafficking online. Groups like the The Antiquities Coalition or The Day After Heritage Protection Initiative have similar missions. In addition, individual countries and intergovernmental organizations have laws and regulations in place to help stop antiquities trafficking. For example, in 2015, the FBI released a statement warning dealers and collectors they could be found guilty of supporting terrorist causes if they purchase any illegal antiquities.[17] In 2016, the UN Security Council passed a resolution obligating member states to develop efforts to prevent terrorist groups in Iraq and Syria from benefiting from trade in oil, antiquities, and hostages.[18] Since then, individual countries have taken measures to comply with the resolution and prevent trafficking, but this does nothing to curb the existence of Facebook trafficking groups. Collaboration between nations to recover antiquities once they are bought is futile if the initial source of illegal activity, Facebook and other self-regulated online marketplaces, are not shut down.

Nevertheless, intergovernmental cooperation can make a difference in monitoring and eventually erasing the global illegal antiquities trade. In early May 2020, INTERPOL, Europol, and the World Customs Organization joined forces to combat widespread antiquities trafficking. The mission resulted in over 100 arrests of participating actors across 103 countries, and the seizure of over 19,000 artifacts. 28% of these artifacts were discovered online in virtual marketplaces.[19] Others were traced across continents and seized at airports during shipping. While this massive effort is a good sign for the ability of governments to work together, it also demonstrates that many artifacts are sold online and the illicit artifacts trade reaches every corner of the world. Yet, this effective mission reveals that, despite COVID-19 and a limitless web of shrouded participants, governments have the capacity to curb artifacts smuggling. If governments and social media sites start working together, it will become much more difficult to buy, sell, and traffic illegal antiquities online.

Looking To the Future

The ATHAR Project has reported an increase in traffic and sales in their flagged Facebook groups during the COVID-19 pandemic, partially because deserted cities allow looters access to usually inaccessible sites.[20] This uptick can also be attributed to preoccupied authorities, or even the warming weather. Katie Paul tells us, “as the world responds to this crisis and authorities in many countries are occupied with enforcing social distancing, there are more opportunities for people to engage in looting without being caught. And with more people spending time online, we see a lot of that activity manifesting on Facebook.” There are many reasons why antiquities trafficking on Facebook has increased over the past few months, including more people than ever connecting virtually over mobile phones and the internet.[21] With or without the current public health crisis, it is feasible to purchase looted antiquities with just a few keyboard clicks. The exploitation of cultural property will not end without an intentional plan of attack from social media sites and governments alike.

As we focus on regulating social media sites and ensuring the protection of cultural property, it is important to remember social media is not always the enemy. In the wake of the Hobby Lobby scandal, activists took to social media sites to encourage boycotts of the supplies store and increase awareness of such illegal activities. In response to the 2019 ATHAR Project report, Facebook deactivated dozens of groups and made statements committing to continued vigilance. Of course, until explicit community guidelines are established and Facebook executives take responsibility for the role they play in antiquities smuggling, it will be a game of whack-a-mole, with new groups popping up to replace any deactivated platforms.


Endnotes:

  1. Kat Moynihan, Bad Hobby: Collecting Unprovenanced Antiquities, Center for Art Law (Mar. 1, 2018), Here. ↑
  2. Daniel Grant, Hobby Lobby Sues Christie’s for Selling It an Antiquity Authorities Say Was Looted, The Art Newspaper (May 19, 2020), Here. ↑
  3. Marilyn Masler, What is Provenance and Why Does It Matter?, Memphis Brooks Museum of Art (Feb. 7, 2012), Here. ↑
  4. Ellen Belcher, Antiquities Trafficking, Art Crime, Looting and Cultural Heritage Destruction, Lloyd Sealy Libr. (Dec. 9, 2019), Here. ↑
  5. Links between Terrorism, Crime and Trafficking in Cultural Property/Antiquities, U.N. Office on Drugs and Crime (Apr. 2020), Here. ↑
  6. Karen Zraick, Now for Sale on Facebook: Looted Middle Eastern Antiquities, N.Y. Times (May 9, 2019), Here. ↑
  7. Michael Press, How Social Media is Allowing for Illegal Antiquities Trafficking, Hyperallergic (Jul. 11, 2019), Here. ↑
  8. Amr Al-Azm & Gretchen Peters, Time to Clean Up Facebook’s Dark Side, Morning Consult (Jun. 25, 2019), Here. ↑
  9. Tim Fernolz, Terrorists Are Trafficking Looted Antiquities with Impunity on Facebook, Quartz (Jul. 3, 2019), Here. ↑
  10. Daniel Kees, ISIS the Art Dealer, The Reg. Rev. (Apr. 13, 2020), Here. ↑
  11. Amr Al-Azm & Katie A. Paul, About the ATHAR Project, ATHAR Project (Jun. 7, 2020), Here. ↑
  12. Katie A. Paul, About Us, All. Counter Crime Online (Jun. 7, 2020), Here. ↑
  13. Amr Al-Azm et al., Facebook’s Black Market in Antiquities, ATHAR Project (Jun. 2019), Here. ↑
  14. Nadine Fahmy, Syria’s Cultural Heritage is a Casualty of War- Here Are the People Protecting It, Scene Arabia (Oct. 11, 2019), Here. ↑
  15. Nitasha Tiku, Whistleblowers Say Facebook Has Not Warned Investors About Illegal Activity, in New SEC Complaint, The Washington Post (May 27, 2020), Here. ↑
  16. Press Release, All. Counter Crime Online & Ctr. Illicit Networks and Transnat’l Organized Crime, Facebook Whistleblowers & Global Watchdog Organizations Challenge Company’s Misleading Statements and “Head in the Sand” Management Approach Ahead of Shareholder Meeting (May 27, 2020), Here. ↑
  17. ISIL and Antiquities Trafficking FBI Warns Dealers, Collectors About Terrorist Loot, Fed. Bureau of Investigations News (Aug. 26, 2015), Here. ↑
  18. Press Release, Security Council, Unanimously Adopting Resolution 2199 (2015), Security Council Condemns Trade with Al-Qaida Associated Groups, Threatens Further Targeted Sanctions, U.N. Doc. SC/11775 (Feb. 12, 2015). ↑
  19. 101 Arrested and 19,000 Stolen Artefacts Recovered in International Crackdown on Art Trafficking, Int’l Crim. Police Org. News and Events (May 6, 2020), Here. ↑
  20. Carlie Porterfield, Smugglers Are Using Coronavirus Lockdowns To Loot Artifacts, Forbes (Apr. 30, 2020), Here. ↑
  21. Katie A. Paul, Facebook Antiquities Looters Remain Active as Pandemic Rages On, All. To Counter Crime Online Medium Blog (Apr. 6, 2020), Here. ↑

About the Author: Lucy Siegel is a Summer 2020 Intern at the Center for Art Law and a rising junior at Bowdoin College in Brunswick, Maine. She is studying art history and government with a concentration in international relations. Lucy can be reached at lsiegel@bowdoin.edu.

Acknowledgments: The Author thanks Katie Paul, Founder of the ATHAR Project, for speaking with the Center for Art Law about ATHAR’s role in fighting against antiquities trafficking.

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 An Excursion into the Antiquities’ Law of India
Next Smart New Solutions for Protecting Antiquities

Related Art Law Articles

word image 75296 1
Art lawCultural Heritage

Beyond “Due Diligence”: Closing Loopholes in the Global Antiquities Trade

October 9, 2025
CfAL cultural heritage India article 1
Art lawCultural Heritage

Spotlight: India Pride Project and the Future of Art Restitution in India

September 19, 2025
The Parthenon Marbles displayed at the British Museum (photograph taken by author on Jan. 21, 2023)
Art lawCultural Heritage

Repatriation in Context: The Case for Cooperation

April 14, 2025
Center for Art Law
What the Heck is Copyright (2)

What is Copy, Right?

2026 Annual Conference

Let’s explore Visual Art, AI, and the Law in the 21st Century together.

 

Reserve Your Ticket TODAY
Guidelines AI and Art Authentication

AI and Art Authentication

Explore the Guidelines for AI and Art Authentication for the responsible, ethical, and transparent use of artificial intelligence.

Download here
Center for Art Law

Follow us on Instagram for the latest in Art Law!

Yesterday marked the launch of our Art Law Film Se Yesterday marked the launch of our Art Law Film Series! 🎥

The first screening was warmly hosted as part of CineLöwenbraukunst at @lowenbraukunst.zurich, and made possible with the generous support of @prohelvetia and @migros_culture_funding. 

We were thrilled to screen the powerful documentary “Elephants & Squirrels” by director Gregor Brändli @gregor_braendli_3000, which follows Sri Lankan artist @deneth_piumakshi_vedaarachchig Deneth Piumakshi Veda Arachchige on her journey advocating for the restitution of cultural heritage from Swiss museums back to the Wanniyala-Aetto indigenous community in Sri Lanka.

The evening offered insightful discussions, highlighting thoughtful approaches to the complex multi-perspective issues of restitution and colonial legacies.

A big thank you to everyone who joined us in Zurich ❤️
Join the Center for Art Law for a discussion on th Join the Center for Art Law for a discussion on the current state of the Anti-Money Laundering Regulations, and how recent and upcoming changes affect art market participants and transactions.

The speakers will offer an update on the regulatory landscape in the United States, issues with enforcement of the AML provisions as well as discuss considerations for private sector on how to stay compliant and prevent money laundering. Finally, we will share the very latest insights we have gained about regulations and enforcement in the UK as they concern  art market participants.

This is your opportunity to learn about the new edition of the Center's AML study of regulations in the EU and other jurisdictions, brush up on the upcoming changes in the UK and the US to the due diligence requirements, and to ask questions.

The event is offered in conjunction with the 2026 Art Law Summer School. 

This event is in-person at Steptoe, New York @ 1114 Avenue of the Americas AND Online.

🎟️ Click the link in our bio to grab your tickets!

#artlaw #centerforartlaw #artlawyer #legalresearch #aml #artcrime #internationallaw
We hope you join us for our Annual Art Law Confere We hope you join us for our Annual Art Law Conference 2026 on May 27, 2026. You can join in-person at Brooklyn Law School or online via Zoom.

The 2026 conference will focus on copyright law as it relates to visual art, artificial intelligence, and the rapidly evolving legal landscape of the 21st century. The program will begin with a keynote address, followed by three substantive panels designed to build on one another throughout the afternoon. In addition, we will host a curated group of exhibitors featuring databases, legal tools, and technology platforms relevant to artists’ rights, copyright, and AI. The program will conclude with a reception, providing time for continued discussion, networking, and engagement among speakers, exhibitors, and attendees.

The opening panel will examine the current state of copyright law in the visual arts and the practical challenges facing artists, galleries, institutions, and practitioners. Subsequent panels will address artificial intelligence, recent legislative and regulatory developments, the role of the U.S. Copyright Office, and emerging questions around licensing, enforcement, and appropriation in a contemporary digital environment.

The conference convenes artists, attorneys, scholars, collectors, arts administrators, students, and policy professionals for in-depth and timely discussion, and will be accompanied by a silent auction and exhibitor networking opportunities. 

Closing Remarks by Lindsay Korotkin, Partner, ArentFox Schiff
Join us on May 27th at Brooklyn Law School for our Join us on May 27th at Brooklyn Law School for our Annual Art Law Conference 2026: What is Copy, Right? 

We are very excited to introduce you to the topic and speakers for Panel 3: Registration Is Dead? Long Live Licensing?

As copyright enforcement becomes more complex, this panel explores the evolving role of registration and the growing importance of licensing agreements in protecting creative works. Panelists will discuss how artists, rights holders, and legal practitioners navigate enforcement today, examining when registration still matters, how licensing structures are being used strategically, and what effective rights management looks like in a shifting legal and art market landscape.

Moderator: Carol J. Steinberg, Art, Copyright & Entertainment Law Attorney, Faculty, School of Visual Arts

Speakers: Janet Hicks, Vice President and Director of Licensing, Artists Rights Society; Yayoi Shionoiri, art lawyer and Vice President of External Affairs and General Counsel at Powerhouse Arts; Martin Cribbs, Intellectual Property Licensing Strategist

You can join us in-person or online! Grab your tickets using the link in our bio! 🎟️ 

#centerforartlaw #artlaw #copyrightregistration #copyrightlaw #copyrightlawandart
Where does this newsletter find you? Checking your Where does this newsletter find you? Checking your passport and tickets on your way to Venice, or floating toward the Most Serene City on the waves of your imagination? Yes, this newsletter is inspired by the 61st Venice Biennale, entitled In Minor Keys, and by the May flurry of activities. For us the month of May closes books on FY 2026 (thanks to you and our programming, we are ending this year strong and ready for the 2026-2027 encore), and it makes our heads spin with final preparations for the Summer School and Annual Conference, punctuated by the arrival of the summer interns (final count is still a mystery). Please share with us your art law stories and experiences as we strive to do the same in New York, Zurich, London, Venice…

The eyes of the art and law world are on La Serenissima because the world needs serenity instead of sirens and because people love art, it imitates life, art that allows us to experiment with real feelings and overcome the drama. From lessons in artistic advocacy with the “Invisible Pavilion” (2026) to historical echoes of the Biennale del Dissenso [Biennial of Dissent] (1977), this Biennale is giving us a lot to process. Hope and joy, loss and disappointment, reunions and new encounters, memorialization and belonging, realization that different motivations drive us to take to the road. Don’t lose your moral compass or your keys, and remember: even minor movements can lead to major reverberations. 

🔗 Check out our May newsletter, using 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 #may #legalresearch
Join us on May 27th at Brooklyn Law School for our Join us on May 27th at Brooklyn Law School for our Annual Art Law Conference 2026: What is Copy, Right? 

We are very excited to introduce you to the topic and speakers for Panel 2: The Copyright Office Weighs In — Three Reports on AI and the Law

This panel examines the U.S. Copyright Office’s three recent reports on artificial intelligence and copyright, unpacking what they clarify, and what they leave unresolved about authorship, ownership, and protection in the age of AI. Panelists will also situate these reports within the broader legal landscape, touching on emerging litigation and contested issues shaping how AI‑generated and AI‑assisted works are treated under current copyright law.

Moderator: Atreya Mathur, Director of Legal Research, Center for Art Law

Speakers: Miriam Lord, Associate Register of Copyrights and Director of Public Information and Education; Ben Zhao, Neubauer Professor of Computer Science at University of Chicago and Founder, Nightshade & Glaze; Katherine Wilson-Milne, Partner, Schindler Cohen & Hochman LLP 

Reserve your tickets today! 🎟️ 

#artlaw #centerforartlaw #copyrightlaw #copyrightlawandart
Round, like a circle in a spiral, like a wheel wit Round, like a circle in a spiral, like a wheel within a wheel… Case law is fascinating, and litigation is often the only path when disputes over valuable art cannot be resolved through negotiation or ADR. 

As news of the renewed HEAR Act spreads through the restitution community, we invite you to read a case review by two of our legal interns, Donyea James (Fordham Law, JD Candidate 2026) and Lauren Stein (Wake Forest University School of Law, JD Candidate 2027), who spent this semester immersed in the facts and law of "Bennigson et al. v. Solomon R. Guggenheim Foundation."

$1,552. That is what a Picasso sold for in 1938 by a Jewish businessman fleeing Nazi Germany. Roughly one-tenth of what he sought just six years earlier. The heirs went to court and two courts said the claim came too late. HEAR Act might very well challenge that conclusion. The case is now pending before New York's highest court. 

🔗 Link in bio.

#ArtLaw #Restitution #HolocaustArt #HEARAct #Guggenheim #Picasso #ProvenanceResearch
Whose collections? Whose heritage? What happens wh Whose collections? Whose heritage? What happens when the present confronts colonial memory? Join us in Zurich for a special screening of "Elephants & Squirrels," a documentary following Sri Lankan artist Deneth Piumakshi Veda Arachchige as she traces looted artifacts and human remains of the indigenous Wanniyala-Aetto people, held in Swiss museum collections for over a century, and fights for their return home.

Film director Gregor Brändli and the artist will open the evening with reflections on colonial collecting, cultural heritage, and the ethics of museum stewardship.

📅 May 12, 2026 | 18:00 – 21:00
📍 schwarzescafé | Luma Westbau, Limmatstrasse 270, Zurich

This event is free to attend and is offered as part of the CineLöwenbräukunst series. Link in bio for more information.

#ArtLaw #CulturalHeritage #Restitution #Repatriation #Zurich #FilmScreening #ColonialHistory #MuseumEthics 

#MuseumEthics
Join us on May 27th at Brooklyn Law School for our Join us on May 27th at Brooklyn Law School for our Annual Art Law Conference 2026: What is Copy, Right? 

We are very excited to introduce you to the topic and speakers for, Panel 1: So Inappropriate — Lessons About Copyright Law and Art: First There Was Art, Then Copyright, Then Fair Use… and Now AI?

From early copyright doctrines to contemporary fair use debates, this panel examines how artists and lawyers have navigated questions of ownership, appropriation, and originality in visual art. Panelists will explore key developments in copyright law affecting traditional artistic practices, from borrowing and remixing to transformative use, while also considering how emerging technologies, including AI, are beginning to reshape long‑standing legal frameworks and artistic norms.

Moderator: Irina Tarsis, Founder, Center for Art Law
Speakers: Vivek Jayaram, Founder, Jayaram Law; Vincent Wilcke, Pace Gallery; Greg Allen, Artist and writer 

Reserve your tickets using the link in our bio or by visiting our website itsartlaw.org 🎟️ 
See you soon!
Next stop: Venice. The 61st Biennale has been maki Next stop: Venice. The 61st Biennale has been making waves and headlines for weeks and the doors have not even opened yet. The jury refused to award prizes and resigned nine days before the opening over geopolitical controversies. Some artists boycott while others show up even if unwelcome. Some pavilions will be empty, some will not be open to the public… Sources of funds, sources of inspiration, so many questions, so much on display for critical eyes. Meanwhile the boats are waiting for anyone lucky enough to find themselves in the floating world.

Help us reflect on the Biennale by sharing your art law stories.

#ArtLaw #Venice #Biennale2026 #ArtWorld #BiennaleofDissent #LaSerenissima #GoldenLion #SeeArtThinkArtLaw
Center for Art Law is very pleased to welcome Prof Center for Art Law is very pleased to welcome Professor Ben Zhao as the Keynote Speaker for our Annual Art Law Conference 2026! 

Ben Zhao is the Neubauer Professor of Computer Science at the University of Chicago where he, and a team of researchers at the university, developed NightShade & Glaze, two data-poisoning tools which protects artists' work from being scraped for AI data training. 

Professor Zhao will discuss tools, such as NightShade, which can assist in defending art in the age of AI. 

The 2026 conference will focus on copyright law as it relates to visual art, artificial intelligence, and the rapidly evolving legal landscape of the 21st century. The program will begin with Professor Zhao's keynote address, followed by three substantive panels designed to build on one another throughout the afternoon. In addition, we will host a curated group of exhibitors featuring databases, legal tools, and technology platforms relevant to artists’ rights, copyright, and AI. The program will conclude with a reception, providing time for continued discussion, networking, and engagement among speakers, exhibitors, and attendees. 

We hope you join us! Reserve your tickets now using the link in our bio 🎟️ 

#centerforartlaw #artlaw #copyrightlaw
A huge thank you to our hosts and incredible speak A huge thank you to our hosts and incredible speakers who made this London panel discussion truly special! 🙏✨ 🇬🇧 🇺🇦 

We were so fortunate to hear from:

🎤 Rakhi Talwar | RTalwar Compliance
🎤 Raminta Dereskeviciute | McDermott Will & Schulte
🎤 Daryna Pidhorna, Lawyer & Analyst | The Raphael Lemkin Society
🎤 Timothy Kompancheko | Bernard, Inc.
🎤 Yuliia Hnat | Museum of Contemporary Art NGO
🎤 Irina Tarsis | Center for Art Law

Your insights, expertise, and passion made this a conversation we won't forget. Thank you for sharing your time and knowledge with us! 💫

Bottom Line: the art market has power and responsibility. Our panel "Art, Money, and the Law: Sanctions & AML Enforcement in 2026" tackled the hard questions around money laundering, sanctions compliance, and what's at stake for art market participants in today's regulatory landscape.

⚠️ Regulators are watching and "history has it's eyes on you..." too We don't have to navigate the legal waters alone. Let's keep the conversation going.

What was your biggest takeaway? 

#ArtLaw #AMLCompliance #Sanctions #ArtMarket #ArtAndMoney #Enforcement2026
  • 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.