Fri, Mar 3, 2023

9 AM – 9 PM EST (GMT-5)

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Yale Law School

127 Wall Street, New Haven, CT 06511, United States



INTERSECTIONS is the Yale Law School conference on art, justice, and the law on March 3, 2023. Given notable discourse amongst governments, art institutions, and cultural heritage and human rights advocates in recent years, this year’s conference theme is “Dialogues on Restitution, Memory, and Justice.” This special event will put lawyers, artists, and activists in conversation to ask the question: How do we rectify loss and injustice through the tools offered in art and law?

The conference will feature two expert panels, co-moderated by a legal scholar and a student. The first panel is on restitution and repatriation of art, and the second will focus on memory and transitional justice. There will also be a thematic gallery tour and a keynote address, both experientially connecting the issues of memory, justice, and repatriation to art. 

Meals: Conference breakfast and lunch will be provided. There will be a reception at the end of the conference. Please note dietary restrictions on registration details.

Program: Registering for the conference will register participants for each conference event (including meals and all programs). Schedule details and speaker details are available on the registration page and on the conference website.

Location: The conference is based at Yale Law School in the Sterling Law Building, the tour will be at the Yale University Art Gallery, and the keynote address will be at Hastings Hall at the Yale School of Architecture. All room locations and any additional locations will be shared with registered participants the week of the conference.

This conference is the culmination of almost two years of concerted effort by law students to form a multidisciplinary space to apply art law to human rights and cultural heritage management issues, consider the uses of art and aesthetics in social and legal movements, and support artists of many kinds in producing or protecting work.



Past Events

Fri, Mar 03, 2023
9:00 AM – 10:30 AM
Sterling Law Build/ing
Conference Welcome

Attendees will gather for registration and breakfast, which will be followed by a conference welcome by organizers.

Fri, Mar 03, 2023
10:30 AM – 12:30 PM
Sterling Law Building
Panel: Modern Approaches to Restitution and Repatriation

This panel will explore the complexities of modern efforts by governments, institutions and public and private actors to uncover truth and seek justice with regards to art and objects with contested provenance or ownership.

Fri, Mar 03, 2023
12:30 PM – 1:30 PM
Sterling Law Building
Conference Lunch

Conference lunch provided by the conference.

Fri, Mar 03, 2023
1:30 PM – 3:30 PM
Sterling Law Building
Panel: Memory, Reparations, and Transitional Justice

Conceptualizing "sites" broadly to include exhibitions, art, and law as sites where memory is constructed and where it may be mobilized toward the goals of transitional justice.

Fri, Mar 03, 2023
4:00 PM – 5:00 PM
Yale University Art Gallery
Gallery Tour

Curator-guided tour of the Yale University Art Gallery. Special emphasis on pieces with ongoing provenance research and pieces dealing with justice & injustice.

Fri, Mar 03, 2023
5:00 PM – 6:00 PM
Yale School of Architecture
Keynote Address

Ana de Orbegoso, artist and creator of "So What Do We Do with Our History?" and "Urban Virgins," will explore the embodied relationship between colonization, memory, identity, and reclamation.

Fri, Mar 03, 2023
7:00 PM – 8:00 PM
Conference Reception

To celebrate the inaugural INTERSECTIONS conference in community, the program will conclude with a Post-Conference Dinner and Drinks Reception from 7:00-10:00pm at High George Rooftop at the Blake Hotel. Passed wines and vegetarian options will be available.


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Ana de Orbegoso



Ana De Orbegoso (she/her) is a New York based Peruvian/American multidisciplinary artist. Her artistic practice explores aspects of gender and identity through the use of iconography and symbols from the collective memory, captured in photographs, videos, sculptures, wearable art, interactive installations, street projections, art actions, workshops, social media campaigns and multimedia productions.

Her work is in the collection of the Art Institute of Chicago; the National Museum of Women in the Arts, DC; Museum of Fine Arts, Houston; National Hispanic Cultural Center, NM; Lehigh University Art Galleries, Pennsylvania; MALI Museum of Art Lima; Museo de Arte U. San Marcos, Lima; En Foco Print Collector’s Program; ICPNA Peruvian North American Cultural Institute, Lima; Gorman Museum UC Davies, Bellarmine University; the Joaquim Paiva Collection at the Modern Art Museum of Rio, Alejandro Castaño and the Violy McCausland Collection among others.

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Amina Krvavac

War Childhood Museum, Executive Director


Amina Krvavac (she/her) is the Executive Director of the War Childhood Museum. Amina believes in museums as spaces for social action and drivers of change, and she is particularly interested in unlocking the potential of museums in transitional justice processes. She is committed to creating exhibitions and workshops that support open and conscious dialogue, and promoting the idea of museums as platforms for societal healing and reconciliation. When it comes to formal education, Amina holds a BA in International Relations from the International University of Sarajevo and an MA in Children's Rights from the University of Geneva. Since 2020, Amina has been a member of the Board of Directors of the International Coalition of Sites of Conscience Europe--a network of museums, historic sites, and memory initiatives connecting past struggles to today's movement for human rights. In 2021, Amina joined the European Museum of the Year (EMYA) Jury, where she currently serves as the Jury Chair. The EMYA scheme, founded in 1977 by the European Museum Forum, aims to support, showcase, and award excellence and innovation in the museum field.


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Antonia Bartoli

Yale University Art Gallery, Curator of Provenance Research


Antonia V. Bartoli (she/her) is Curator of Provenance Research at the Yale University Art Gallery in New Haven, Connecticut, where she is leading the Gallery’s first comprehensive provenance research project. She is a specialist in provenance research with expertise in the Nazi period and has lectured and published on topics including the Italian art market during the Second World War and the spoliation of books, manuscripts, and fine and decorative art objects in Austria, France, Germany, and Poland. She was formerly Spoliation Curator at the British Library, London, and has worked as a provenance researcher for Christie’s auction house, New York, and the Museum of Fine Arts, Boston, and as a consultant on behalf of families seeking to recover objects lost due to Nazi persecution. She holds an M.A. in the history of art and archaeology from the Institute of Fine Arts at New York University and an undergraduate M.A. in the history of art from the University of St. Andrews, Scotland.

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C├®cile Fromont

Yale University, Department of Art History, Professor


Cécile Fromont (she/her) is a professor in the history of art department at Yale University. Her writing and teaching focus on the visual, material, and religious culture of Africa and Latin America with a special emphasis on the early modern period (ca 1500-1800), on the Portuguese-speaking Atlantic World, and on the slave trade. Her current research investigates areas of intersection between visual and material culture, religion, and knowledge creation in cross-cultural environments of early modern Africa, Latin America, and Europe. Her first book, The Art of Conversion: Christian Visual Culture in the Kingdom of Kongo was published in 2014 by the University of North Carolina Press for the Omohundro Institute for Early American History. Her second book, Images on a Mission in Early Modern Kongo and Angola (Penn State University Press, 2022) presents and analyzes for the first time a set of unpublished and unparalleled images from seventeenth and eighteenth century Kongo and Angola created within the Capuchin Franciscan mission to the region. She is the editor as well as a contributor to the 2019 volume Afro-Catholic Festivals in the Americas: Performance, Representation, and the Making of Black Atlantic Tradition (Penn State University Press).

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Emmanuelle Polack

Provenance Research, Louvre Museum


Emmanuelle Polack (she/her), heads provenance research at the Louvre Museum. In 2009, she curated the exhibition Rose Valland sur le Front de l'art at the Centre d'histoire de la Résistance et de la Déportation in Lyon (CHRD). In 2011, she co-authored with Philippe Dagen Les Carnets de Rose Valland. From 2012 to 2017, she was a researcher at the Institut national d'histoire de l'art (INHA) and a French consultant associated with the Taskforce Schwabinger Kunstfund which became the Projekt Provenienzrecherche Gurlitt. In 2018, her doctoral dissertation in art history was awarded the Berthe Weill Prize for Research. In 2019, she curated the exhibition Le Marché de l'art sous l'Occupation at the Mémorial de la Shoah in Paris. Her eponymous book won the Ernest and Claire Heilbronn Foundation Prize and the Arts Prize awarded by the National Academy des Sciences, Belles-lettres des Arts de Bordeaux. Emmanuelle holds a doctorate in art history from the University of Paris, La Sorbonne.

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Laurel Zuckerman

Zuckerman v. Met, Lead Plaintiff


Laurel Zuckerman (she/her) applies digital tools and methods borrowed from investigative data journalism to the art world and the Holocaust. The multiple layers of false provenances she discovered for an artwork her grandfather's family owned before fleeing the Nazis inspired her interest in linked data, knowledge graphs, computational analytics, natural language processing and network analysis. In 2016, after twelve years of research, she filed a lawsuit against the Metropolitan Museum of Art for the restitution of Picasso's The Actor. Zuckerman is the author of two books published by Editions Fayard and the editor of Open Art Data.

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Nicholas O'Donnell

Sullivan & Worcester, Partner


Nicholas M. O'Donnell (he/him) is a Partner in the Litigation Department of Sullivan & Worcester in Boston. He has served as lead counsel on a variety of lawsuits concerning restitution and fine art sales and has advised museums, dealers, auction houses, and collectors worldwide about restitution, copyright, and de-accessioning issues. He is former Chair of the Arts, Cultural Institutions and Heritage Law Committee of the International Bar Association and a regular member of the New York City Bar Art Law Committee.  Nick is the author of numerous articles and papers on the subject of art disputes and regulation, as well as A Tragic Fate—Law and Ethics in the Battle Over Nazi Looted Art (2017), the first comprehensive overview of disputes in the U.S. over Nazi-looted art, including his clients’ claims for the Guelph Treasure or Welfenschatz, which Nick argued before the Supreme Court in 2020.

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Sarah Case

International Coalition of Sites of Conscience, Deputy Program Director for the Global Initiative for Justice, Truth and Reconciliation


Sarah Case (she/her) is the Deputy Program Director for the Global Initiative for Justice, Truth and Reconciliation (GIJTR), a multi-disciplinary consortium of nine organizations, led by the International Coalition of Sites of Conscience, that together serves as a new mechanism to respond to the transitional justice needs of societies emerging from conflict or periods of authoritarian rule. Through the GIJTR, Sarah has managed a range of projects, including a Transitional Justice Academy for activists in the MENA region; a multi-year collaboration with Guinean civil society organizations to advance community memorialization, psychosocial support, and violence prevention; the development of a manual and resource center on digital archiving for civil society organizations; and a research and exchange project aimed at highlighting the unique needs of survivors conflict-related sexual violence and their children within transitional justice processes. Sarah is an Associate Producer on the award-winning documentary A Snake Gives Birth to a Snake and a Producer on the forthcoming documentary, The Journey Back to Now. Sarah received her master’s degree in Human Rights Studies from Columbia University, where her research focused on the arts and storytelling as tools for truth-telling and social change. She also holds a BA in Art History from Columbia University.

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traci kato-kiriyama

Author and artist


traci kato-kiriyama (they/she), author of Navigating With(out) Instruments—based on unceded Tongva land in the south bay of Los Angeles—is an award-winning multi-, inter- and transdisciplinary artist, recognized for their work as a writer/performer, theatre deviser, cultural producer, and community organizer. tkk is grounded in collaborative process, collective self-determination, and art+community as intrinsically tied and a critical means toward connection and healing. They are a principal writer and performer in PULLproject Ensemble, which created TALES OF CLAMOR, a powerful theatrical case-study. TALES OF CLAMOR examines the sound of silence and the echoes of a little-known yet major moment of American history, the public hearings of the Commission of Wartime Relocation and Internment of Civilians, which contended with the legacy of the incarceration of Japanese Americans during WWII. tkk is a core artist of Vigilant Love and an organizer with the Nikkei Progressives & Nikkei for Civil Rights and Redress joint Reparations Committee, and Director/Co-Founder of Tuesday Night Project.


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