During World War II new expressive idioms evolved, sustained by an efficient production system that met the growing demand for all types of products, including works of art. This led to the birth of art in unexpected forms: videos, installations, body art, conceptual art, land art… They testify to the plurality of though in our time and amount to the highest percentage of capital invested on the entire art market.

Thanks to the collaboration of the art critic and with the support of cutting-edge diagnostic technologies, today it is possible to study the work of art without being limited to providing an attribution through the study of graphic and qualitative aspects, but also by verifying the coherence of the work with the author’s personal techniques, thereby providing definitive interpretations capable of gathering those subtleties that make it possible to distinguish the genuine, the possible, and the counterfeit.

What is particularly important in identifying the author and in recognising the artistic work is its presence in publications, auction catalogues, show and exhibition catalogues, collections…  these testimonies are fundamental in relations with foundations and institutes responsible for the production of the “certificates of authenticity” necessary in order to make an affirmation on the art market.