Ann Freedman worked with New York Magazine’s James Panero to lay out the case for her innocence in the Glafira Rosales forgery case. In laying out her defense, she also points out that her goal—besides making a lot of money—was to ““I felt that I was going to create a legacy for Knoedler with these newly discovered paintings, a treasure trove of paintings to bring out into the world,” she said.

Speaking with Daily Intelligencer last month, Freedman listed some markers that led her to believe that the paintings were genuine. “They were very credible in so many respects,” says Freedman. “I had the best conservation studio examine them. One of the Rothkos had a Sgroi stretcher. He made the stretchers for Rothko. They clearly had the right materials. I got a consensus. Some of the paintings were featured on museum walls,” she continued. “The Rothko went to the Beyeler [Foundation], and the Newman went to Guggenheim Bilbao for the tenth anniversary exhibition. The most knowledgeable in the art establishment gave me no reason to doubt the paintings.”

Experts seem to have been convinced, by and large, that the individualistic quality of the Abstract Expressionist paintings Rosales obtained could only have been achieved by the artists themselves. “The fact is that the entire Eastern establishment believed in them. I saw the paintings,” said Stephen Polcari, a scholar of Abstract Expressionism and author of Abstract Expressionism and the Modern Experience. “And they were very good. You wouldn’t think twice about them for a second. Ann did everything she could possibly do.”

‘I Am the Central Victim’: Art Dealer Ann Freedman on Selling $63 Million in Fake Paintings (New York Magazine)