In February 2022, the Orlando Museum of Art (OMA) unveiled Heroes & Monsters, an exhibition featuring 25 “lost” paintings attributed to Jean-Michel Basquiat. Claimed to have been created in 1982 and sold directly to television writer Thad Mumford, the works were presented as a monumental discovery. For OMA and its director Aaron De Groft, the exhibition promised to elevate the museum’s reputation and cultural relevance.
The Key Figures
But the triumph quickly spiraled into scandal. Within months, the FBI raided the museum, seized the artworks, and exposed them as forgeries. The fallout reverberated across the art world, revealing systemic vulnerabilities in authentication, provenance, and institutional oversight.
At the center of the scandal was Aaron De Groft, OMA’s director, who allegedly ignored warnings from experts about the authenticity of the works and pressed forward with the exhibition. This decision ultimately cost him his position. Insisting he was unfairly scapegoated, De Groft filed a countersuit for wrongful termination, defamation, and breach of contract. “I’m going to war to get my good name back, my professional standing, and personal and professional exoneration,” he told the Orlando Sentinel.
Tragically, De Groft passed away on January 18, 2025, his career overshadowed by the controversy. In a significant development on February 26, 2025, the Orlando Museum of Art and De Groft’s estate agreed to drop all lawsuits against each other, effectively ending the legal battle that had ensued following the scandal. The museum expressed in a statement that “it is OMA’s sincere hope that this step will allow OMA to continue forward with its mission in partnership with its valued constituencies.”
Dr. Jordana Moore Saggese, a respected Basquiat scholar, was also drawn into the scandal. Hired in 2017 to review the “Basquiat Venice Collection,” Saggese rejected several works and expressed only tentative opinions on others, stressing that her reports were not to be used for authentication. Despite her clear warnings, excerpts of her findings were misrepresented in the exhibition catalogue to bolster claims of authenticity. “The use of my reports to attribute the works to Basquiat is a flagrant breach of confidence and cynically misrepresents my endorsement,” she said.
Michael Barzman, a Los Angeles auctioneer, confessed to fabricating the paintings with an accomplice, identified only as “J.F.” in court documents. The duo crafted a false backstory involving Mumford to legitimize the forgeries, exploiting Basquiat’s chaotic style and unconventional materials to make the works seem credible.
The Unraveling
The Heroes & Monsters exhibition faced immediate scrutiny, with glaring inconsistencies unraveling the story. The most damning detail was a FedEx logo on one panel, a design introduced six years after Basquiat’s death in 1988.
While the paintings were said to have been purchased by Thad Mumford and stored for decades, Mumford, before his death in 2018, denied ever owning them. The FBI investigation confirmed the forgeries, exposing the scheme as a combination of clever fabrication and inadequate due diligence.
Mark Busacca, curator, artist, and owner of Busacca Gallery in San Francisco, emphasizes that a work’s provenance must align with verifiable historical records to ensure authenticity. “The story behind the artwork is the most important aspect because it’s what you will share when people ask about it,” he explains. “If the story doesn’t make logical sense, you should run.”
Due Diligence, Not Blind Trust
Verification, Not Assumptions
Authentication, Not Wishful Thinking
Lessons for the Art World
The Orlando Museum case serves as a stark reminder of the consequences of bypassing proper authentication. Art law expert Amelia K. Brankov explains, “This case illustrates just how catastrophic it can be for institutions to display forged works without thorough due diligence. Beyond reputational damage, museums risk FBI investigations, lawsuits, and loss of donor trust—all of which can be devastating for their future.”
Busacca stresses that multiple experts must be involved before purchasing or displaying a work of this magnitude. “Stop the madness—bring in well-known subject experts to evaluate the work before purchasing. There are multiple ways to test a painting worth over half a million dollars, and it makes sense to invest in proper evaluation upfront. Don’t rely on just one expert—crowdsource the expertise to ensure accuracy and confidence in your purchase.”
The Role of Insurance
The scandal also exposed the complexities of insuring high-value art. Insurers Liberty Mutual and Great American Insurance Company are contesting a $19.7 million claim filed by the owners of the forged works. They argue that counterfeit items hold no insurable value and that the owners should have known the works were fake.
“If a work is determined to be a forgery, it is essentially deemed to have no value, leaving collectors or institutions unable to recover under the policy,” Brankov explains. Busacca echoes this sentiment, adding, “Without the proper paperwork, you are not insured. Insurance companies will not pay out unless they have extensive authentication documentation proving that the work has been properly verified. They will also want to know who authenticated the piece—if the person is not a recognized professional, the claim is likely to be denied.”
The Broader Impact
The Orlando Museum of Art scandal has forced the art world to confront its blind spots. From the responsibilities of institutions to the obligations of experts and insurers, it has revealed just how fragile trust is in an industry built upon it.
High-profile forgery cases often lead to greater scrutiny in the art market, but they also provide opportunities for learning. “As long as the market learns from its mistakes, it can continue to evolve and improve,” says Busacca. “Hiring a knowledgeable collection consultant who contacts multiple connoisseurs to verify the information can give the buyer greater confidence when purchasing high-end art.”
As the dust settles and legal proceedings come to an end with the dismissal of lawsuits between the museum and De Groft’s estate, the case leaves a vital lesson: ambition and reputation cannot come at the expense of integrity and due diligence. Strengthening safeguards is not just necessary—it’s essential for the future credibility of the art world.
Aaron De Groftart authenticationart due diligenceart forgeryart fraudart insuranceart insurance claimsart verificationBasquiat scandalblockchain authenticationFBI investigationHeroes & Monsters exhibitionJordana Moore SaggeseLiberty Mutual lawsuitMichael Barzmanmuseum ethicsmuseum governanceOrlando Museum of Artprovenance research
