Abstract

Counterfeiting is a major problem in the art market, and its harmful impact will likely grow as contemporary art (currently, the most affected) is increasingly becoming an object of financial speculation. The Italian criminal law has, however, not followed the tumultuous evolution that the very concept of 'art' has known since the aftermath of World War II. In this ever-changing market a role of increasing importance is played by artists' archives. Born with the main purpose of protecting and preserving an artist's memory and moral legacy, archives are now faced with growing involvement - both as active helpers and as passive subjects of scrutiny - in criminal investigations on fakes and forgeries.