Joshua Knelman's essay "Headache Art" is an excerpt from his book Hot Art (Tin House, 2012) and is published with permissi...

Noah Charney's column "Lessons from the History of Art Crime" features "Mark Landis: the Forger Who Has Yet to Commit a...

In the column "Context Matters", David Gill writes on "Princeton and Recently Surfaced Antiquities" in the Spring/Summ...

Columnist Ton Cremers speculates on the "Rise in Thefts from Museums: Due to Economic Crisis?" in the Spring/Summer 2012 issue of...

Attorney Donn Zaretsky writes on "When Photography Might be Illegal" in his Art Law and Policy column in the Spring/Summer 2012 ...

Thierry Lenain writes about the psychology of a forger in "The Forger's Point of View" in the Spring/Summer 2012 electronic i...

Australian criminologist Duncan Chappell and Dr. Saskia Hufnagel write on "The Beltracchi Affair: A Comment on the  "Most Specta...

Aleksandra Sheftel's article on "Looting History: An Analysis of the Illicit Antiquities Trade in Israel" is published in th...

Fraud expert John Daab writes about the delicate nature of art authentication in his article "Daubertizing the Art Expert" in th...

In the Spring/Summer 2012 issue of The Journal of Art Crime , Stephen Mihm writes on counterfeiting currency which has parallels to the s...