Critics are calling MONA ‘childish’, but history shows us how much the public love an art forger

The experts who criticise the fake Picassos and argue MONA’s reputation is damaged fail to recognise how the rebellious nature of art forgery so perfectly aligns with the museum’s reputation for shaking up the art industry.

Past exhibitions at MONA have created controversy and drawn protest from animal rights campaigners and enraged Christians.

One of the museum’s most popular works is a device that mimics the human digestive system and converts food into excrement, which is dispensed daily. The forged Picassos and the establishment’s snooty reaction actually encapsulates and emboldens the museum’s public image.

In time, the controversy will be seen as a positive story for MONA, and not the bonfire of integrity imagined by its critics.

The experts who warn of damage to Tasmania’s tourism industry have not stopped to appreciate the significance of a woman producing the fakes hung in the museum’s Ladies Lounge. Art forgery is exclusively a male activity.

Experts in this field such as Noah Charney and Thierry Lenain haven’t identified a single female art forger.

There may be hundreds of women producing art forgeries. They and their works are unknown because their paintings have not yet been revealed as fakes.

Until they are unmasked, Kirsha Kaechele can be recognised as the world’s most famous female art forger – an accolade that is certain to attract new visitors to the museum.

Source: Critics are calling MONA ‘childish’, but history shows us how much the public love an art forger

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