Dr. Flynn: French commentators say the process of reform following the Drouot/Savoyard portering scandal has already begun, with investigations in train and potential criminal prosecutions on the horizon. Meanwhile, a new logistics company has been recruited to handle the Drouot's portering, transport and storage services previously conducted by the disgraced cols rouges. Quite how those illegal processes were allowed to take root deep inside in the country's ancient auction nerve centre, and continue unchecked for decades, remains the great unanswered question.

But let's not forget that the international art market has always been amenable to corruption at every level. Look at the Italian antiquities scandal uncovered by Peter Watson. Look at the Sotheby's and Christie's price-fixing scandal. Fakes and forgeries and manufactured provenances abound. Blind eyes are everywhere.

Beyond the Drouot, the French auction scene is still undergoing the slow process of rationalisation following the opening of the auction market to Sotheby's, Christie's and other non-French companies in 2001. That will take time to shake out, but some might argue that it was too little too late and that France long ago lost the battle of the gavels, while London and New York exploited the freedom and latitude of their own unregulated markets. Some analysts claim that Paris is no longer even in third place after London and New York and that Beijing is now the third largest art market centre and expanding at a rate of knots.

That said, new Parisian auction business ventures such as Artcurial, which have taken advantage of external investment made available following the partial relaxation of government regulations, are providing the sort of competition the French art auction market badly needs. Meanwhile, French dealers and collectors are tapping into an increasingly global market, buying and selling in the most commercially favourable centres, whether it be New York, London or Beijing.

The Drouot scandal notwithstanding, Paris still has a lot going for it in the art market stakes. It's a beautiful city with an ancient artistic heritage and a noble tradition of art commerce. Fashionable international contemporary art dealerships are opening all the time in the city's chic quarters around the Marais and in the Avenue Matignon. If it can deal rapidly and effectively with the cols rouges scandal and the recent, highly publicized allegations against the Wildenstein dealership, then perhaps it will turn the page and once again compete on the world stage. The next several months will be critical.

Photo: Colette Marvin and Tom Flynn recently toured art auction houses in Paris.

"So the primary motivation for most art forgers really is sort of passive-aggressive revenge, with financial motivation taking a very much secondary role," he continued.

While most forgers are artists, he said, some are art conservators too, so they are skilled at getting around the scientific techniques used to verify an artwork. And not only do they produce counterfeit artworks; they can also produce convincing counterfeit documents verifying their bogus works. With these skills, forgers and forgeries can sometimes go undetected for years, making it difficult to say whether or not the numbers of forgeries are rising.

“An English country-road scene with a fake Monet signature is now known to be the work of the landscape painter Alfred East. A granite head of an Egyptian king has turned out to be a Berlin carver’s 1920s handiwork. An ebony table thought to have belonged to the Medicis is actually an 1840s Florentine copy.”

ARCA blog: This exhibit shows the museum audience the process of research and authentication. In the past some museums have hidden fakes and forgeries, or misattributions, in storage and refused to elaborate about the process. What kind of response have you received from curators at other institutions?

ARCA blog: Do you think this exhibit has any kind of influence on the type of paintings that might be donated by supporters? Have you or your museum been concerned about any kind of resistance from contributors?

Dr. Salort-Pons: I would answer “no” to both questions. Some of our forgeries are quite sophisticated and came to the DIA when technologies and art historical knowledge were not as advanced as they are today. The DIA is a highly professional institution that includes a group of outstanding curators, conservators and scientists. We have the art historical expertise, and we are equipped with one of the best conservation labs in the country. Furthermore, our collection committee follow clear and strict guidelines that guarantee, among other things, that any artwork accessioned is of high quality and of interest for the DIA as well as, of course, authentic. I believe that supporters and contributors of our museum are aware of this. Fakes, Forgeries and Mysteries is a good example of how competent the DIA's staff is and that our museum is a top institution in terms research and technology.