Consistent with efforts in recent years to apply banking laws to the art market, the prospects of passage of a bill in Congress that would apply those rules to a broad category of advisors and attorneys have recently increased. The “ENABLERS Act,” a gimmick of nomenclature apparent from the moment it was proposed, was briefly attached to the annual National Defense Authorization Act, which in keeping with longstanding tradition easily passed the U.S. House of Representatives on July 14, 2022. This tactic, which was also used to extend the reach of the Bank Secrecy Act to antiquities dealers in 2021, greatly enhances the odds that what seemed initially like an unserious publicity stunt might become law. Readers of the Art Law Report will not be surprised at a critical view here of the effort to place a square peg—the art market—into a round hole—bank oversight. This bill is considerably worse, however. Compounding the confusion is that despite widespread coverage about its attachment to the NDAA, the ENABLERS Act as originally proposed is not in the version of the NDAA that passed the House of Representatives last week (it was added then revised, notwithstanding at least one report to the contrary). What was approved for the moment omits the worst parts of the ENABLERS Act. But the perception that it is a done deal ironically may have the effect of lowering vigilance about its prospects. Even if this bill never becomes law, it has come much closer than it should have.
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Topics:
Congress,
Supreme Court,
House of Representatives,
AML,
Money laundering,
FinCEN,
Financial Crimes Enforcement Network,
Illicit Art and Antiquities Trafficking Protection,
suspicious activity reports,
Bank Secrecy Act,
31 U.S.C. § 5312(a),
National Defense Authorization Act,
Treasury Department,
ENABLERS Act,
NDAA,
art market regulation,
Tom Malinowski,
dealers in antiquities,
JOHN HENRY WIGMORE,
Berd v. Lovelace,
Federal Rules of Evidence,
Panama Papers,
International Consortium Investigative Journalists,
Offshore Leaks database,
English Chancery Court,
Blackburn v. Crawfords Lessee,
Pandora Papers
The Treasury Department’s Financial Crimes Enforcement Network (FinCEN) today published in the Federal Register notice of proposed regulations related to the implementation of amendments to the Bank Secrecy Act (BSA) regarding the trade in antiquities pursuant to last year’s Anti-Money Laundering Act. After relative silence over the nine months since the AMLA was passed as part of the National Defense Authorization Act, FinCEN somewhat surprisingly still has not drafted any proposed regulations, but rather seeks additional comment on a series of substantive questions. This effort to gather meaningful data is a positive step, but raises concerns about interested parties’ ability to respond by the 30 day deadline, and whether FinCEN will have time to incorporate those comments into regulations that must be promulgated (after further public notice and comment) by the end of 2021.
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Topics:
Antiquities,
AML,
Money laundering,
FinCEN,
Financial Crimes Enforcement Network,
Bank Secrecy Act,
National Defense Authorization Act,
Treasury Department,
BSA,
Anti-Money Laundering Act,
Byzantium
In connection with the late-2020 amendment to the Bank Secrecy Act (BSA) to include “dealers in antiquities” as a result of its inclusion in the National Defense Authorization Act (NDAA), the Treasury Department’s Financial Crimes Enforcement Network (FinCEN) has issued a notice of “Efforts Related to Trade in Antiquities and Art.” The notice is a combination of guidance to entities now covered by the BSA, but it is also a potential backdoor around the entities that Congress chose not to regulate with respect to potential or perceived money laundering risks: art dealers. It also raises concerns about the objectivity of the forthcoming study of the art market that Congress instructed FinCEN to conduct. In either event, it is further evidence that momentum continues to gather for stricter oversight and regulation of the U.S. art market, and the importance of the art trade demonstrating more transparency and diligence if it hopes to modify or mitigate that regulation.
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Topics:
The Art Newspaper,
Nazi-looted art,
Antiquities,
Terrorist financing,
Responsible Art Market initiative,
Money laundering,
FinCEN,
A Tragic Fate,
Financial Crimes Enforcement Network,
Illicit Art and Antiquities Trafficking Protection,
suspicious activity reports,
Corporate Transparency Act of 2019,
Bank Secrecy Act,
National Defense Authorization Act
On January 1, 2021, the U.S. Senate overrode President Trump’s veto of the National Defense Authorization Act for 2021 (NDAA), a bill that (perhaps surprisingly) included rules affecting the art market. Specifically, the new law subjects antiquities dealers to the provisions of the Bank Secrecy Act, requires registration of the ultimate beneficial ownership of limited liability companies, and directs the Financial Crimes Enforcement Network (FinCEN) at the Department of the Treasury to conduct a study of money laundering in the art market. Long considered but only now passed, the bill is a significant step into regulating the U.S. art and antiquities market, though still far less invasive than the European Union’s current approach. The new regulations raise questions about the cost benefit balance of compliance, but leave no doubt after last year’s Senate report that regulators have the art market in their sights and the market must respond if it wants to have a say in the oversight that is sure to come.
Readers here will be familiar with our support for and participation in the Responsible Art Market Initiative’s common-sense approach to diligence and responsible practices, and this development is no exception. As I tried to spotlight in the RAM New York webinar we hosted last fall, whatever one thinks of the regulations or the regulators, these things are happening. And while we expressed skepticism that FinCEN is the right body to conduct a study of the art market, the market has a choice here. We can complain, or we can get involved in the dialogue. I would rather be at the table in the discussion than outside the room. The FinCEN study may not be ideal, but it is an opportunity that responsible actors will ignore at their peril.
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Topics:
OFAC,
European Union,
Terrorist financing,
Responsible Art Market initiative,
Money laundering,
FinCEN,
Financial Crimes Enforcement Network,
Office of Foreign Assets Control,
Bank Secrecy Act,
Department of the Treasury,
31 U.S.C. § 5312(a),
limited liability companies,
National Defense Authorization Act,
President Trump
Longtime readers of the Art Law Report will know of the remarkable success over the last several years of the Responsible Art Market Initiative in Geneva. RAM began initially in connection with a collaboration by the Art Law Centre at the University of Geneva and the Art Law Foundation (Fondation pour le droit de d’art), also in Geneva. RAM has held annual events in Geneva at artgeneve for several years. Indeed, the RAM event this past January was one of the last times I was able to visit Europe before the world shut down.
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Topics:
sanctions,
Pryor Cashman LLP,
Pippa Loengard,
Irina Tarsis,
Sullivan & Worcester LLP,
Suzanne Gyorgy,
Megan Noh,
Center for Art Law,
RAM,
Responsible Art Market initiative,
Money laundering,
CitiBank,
Birgit Kurtz,
Nanne Dekking,
Artory,
Lockton Companies,
Andrew Schoelkopf,
Elaine Wood,
Charles River Associates,
Jill Arnold Bull
A recent report by the U.S. Senate Permanent Subcommittee on Investigations (headlined by Chairman Senator Rob Portman, Republican of Ohio, and Ranking Member Tom Carper, Democrat of Delaware) has drawn widespread attention for its damning statements about the international art market. Focusing on purchases of art from major auction houses by Arkady and Boris Rotenberg, two Russian nationals described as “oligarchs” by the report, the Subcommittee makes a series of pronouncements about the supposed prevalence of money laundering in the art market, and the need for regulation to address this perceived problem. Yet upon closer read, the report is a recycling of clichés about the art market, a detailed description about the considerable diligence by the auction houses far beyond what any even theoretical regulation would require (thus begging the question of what lesser regulation would accomplish), and no discussion or empathy at all for the vast majority of small art businesses that could not possibly comply with such regulation and stay in business, let alone actually combat money laundering. In other words, in concluding that two men laundered money, the Senate committee deduces that the practice is rampant. This hardly follows as a matter of logic. Far from supporting the case for sweeping financial regulation of the art market, the report unintentionally makes the opposite point.
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Topics:
OFAC,
Vladimir Putin,
Uniform Commercial Code,
House of Representatives,
New York Times,
Responsible Art Market initiative,
Money laundering,
FinCEN,
Financial Crimes Enforcement Network,
Permanent Subcommittee on Investigations,
Boris Rotenberg,
oligarch,
shell companies,
suspicious activity reports,
Banking Secrecy Act,
Politically Exposed Persons,
Arkady Rotenberg,
Treasury,
ultimate beneficial owner,
UBO,
Corporate Transparency Act of 2019,
Tom Carper,
Office of Foreign Assets Control,
Rob Portman
Casting aspersions about the art market is a popular pastime. And no doubt there is much about the commercial art world that invites this criticism, not least a tendency towards secrecy (or discretion, depending whom you ask). Sometimes these criticisms lean into suggestions of rampant criminality or money laundering, for which there is actually scant support. That is to say, there is a common suggestion that the lack of a single regulatory scheme over the art market (which is not to say it is unregulated, another misconception) is evidence of participation by dealers or collectors in illicit activity. In fact, as we have written before, the far greater risk is of being used by bad actors trying to launder money through art transactions. For this and other reasons, we were proud to assist in drafting the Responsible Art Market initiative U.S. country guide and the more recent toolkit that was launched in January.
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Topics:
OFAC,
Christie's Inc.,
Responsible Art Market initiative,
Money laundering,
AML Program,
Know your customer,
H.R. 5886,
Luke Messer,
Office of Foreign Asset Control,
Illicit Art and Antiquities Trafficking Protection,
KYC
I was pleased to attend last week in Geneva “Building an Art Market for the Future—Guidelines for Countering Money Laundering and Terrorist Financing Threats” hosted by the Fondation pour le Droit d’Art (Art Law Foundation) and the Art Law Centre of the University of Geneva. The conference was the official launch of the Responsible Art Market initiative, and offered valuable, market-focused discussion about the risks of money laundering and terrorist financing in the art market. Refreshingly, the day’s panel discussions focused on best practices and goals, rather than the oft-heard lamentations about problems with the art market. The implicit point that came through was a powerful one: as both private sellers and law enforcement speakers explained, art dealers are not engaged in large-scale shadowy financial dealings. But art dealers and buyers are at serious risk of being used by criminals engaged in money laundering, which can have serious consequences. Because willful blindness is no defense, the conference and the initiative provided valuable practical advice.
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Topics:
Pierre Gabus,
Anne Laure Bandle,
Art Dealers Association of Switzerland,
Art Law Foundation,
Geneva,
Sandrine Giroud,
Luxembourg,
Switzerland,
Art Law Centre,
University of Geneva,
AML,
Terrorist financing,
Sylvia Furrer Hoffmann,
Ricardo Sansoletti,
Ursula Cassani,
Simon Studer,
Mathilde Heaton,
Fondation pour le Droit d’Art,
Jean-Bernard Schmid,
Rakhi Talwar,
Ralph Wyss,
Responsible Art Market initiative,
Money laundering,
Stiftung Kunsthalle,
Bern,
Deloitte
