FORGED HISTORY: ARE ORIGINAL INTERPRETATIONS A CRIME? PRE-CONQUEST SCULPTURE FORGERIES BY BRÍGIDO LARA

When a forgery or fake is discovered in a collection, the question becomes: what to do with the item? This thesis examines the work of Veracruz-born sculptor, Brígado Lara, who’s alleged 40-year career of crafting pre-Columbian ceramics calls into question not only how to deal with fakes, but the influential role forged objects have in defining the academic field. A forgery’s historical presence in the scholarly literature, as well as in a museum’s collection, does not end with the acknowledgement that it is non-authentic; there must be careful examination of how the object entered a given collection and how it continues to interact with the scholarly literature. Also important, is research into the forger’s background, including artistic training and relevant biographical information. By comparing two separate case studies of institutions whose prestigious collections include Lara’s sculptures: the Dallas Museum of Art and the Metropolitan Museum of Art. I analyze how each museum approached exhibiting Lara’s objects, as well as details regarding their acknowledgment—or non-acknowledgment—of the “authenticity” of Lara’s forgeries. I offer the conclusion that the Brígado Lara sculptures, due to their acquisition and their influence, must be considered successful artworks: not as forgeries—as Lara never deliberately attempted to attribute his own works as authentic—but as “original interpretations,” which have created new narratives for understanding pre-Columbian ceramics from Veracruz.