ABSTRACT
The primary framing against which keyings of the concept of fake in art discourse can be appreciated is that of fake as fabrication, where forgers are the villains and unaware buyers, or museum visitors are the victims of manipulation. In recent years, the notion of fake in art discourse has received attention not only in terms of the authenticity vs forgery dichotomy but also in ways that problematise the notion itself and the value-system that underpins art dealing. The analysis will now concentrate on the primary frame of fake in art discourse, as the point of departure for the analysis of keyings that variate from that pattern. The underlying ideological position does not hold forgery as legitimate, thus leaving mostly untouched the mainstream art world belief system, but the choice of exhibiting fakes suggests a repositioning of the museum’s role and identity with respect to forgery.
