After the Second World War, new expressive languages were able to emerge supported by an efficient production system. We have thus seen art born in unexpected forms: videos, installations, body art, conceptual art, land art… they testify to the plural thinking of our time and collect the highest percentage of the capital invested in the entire art market.
Thanks to the collaboration of the figure of the art critic, and with the support of the most modern diagnostic technologies, it is possible to study the work of art not only by providing an attribution through the study of the graphic and qualitative aspect but also by verifying the coherence of the work with the author’s own techniques, thus providing certain interpretations that manage to grasp those nuances that allow us to distinguish between the true, the plausible and the false.
Particularly relevant in the identification of the author and in the recognition of the artistic artefact is its presence in publications, auction catalogues, exhibition or exhibition catalogues, collections… these testimonies are fundamental in relations with the foundations and institutes recognized for the issue of “authentications” which nowadays are an essential document for placing art on the market.
