is a Partner and co-founder at Galluzzo & Amineddoleh where she specializes in art, cultural heritage, and intellectual property law. She is involved in all aspects of due diligence and litigation, and has extensive experience in arts transactional work. She has represented major art collectors and dealers in disputes related to multi-million dollar contractual matters, art authentication disputes, international cultural heritage law violations, the recovery of stolen art, and complex fraud schemes. Leila writes and speaks extensively on art and heritage topics, and has appeared in major news outlets, including the New York Times, Forbes Magazine, TIME Magazine, The Guardian, and the Wall Street Journal. Leila teaches Art Crime at New York University, as well as International Art & Cultural Heritage Law at Fordham University School of Law and St. John’s University School of Law. Leila also served as the Executive Director of the Lawyers’ Committee for Cultural Heritage Preservation from 2013 through 2015.
Earlier this week a friend posted a magazine article, “The Rise of Fakes and False Attributions in the Art World,” on social media. The article was about art authentication and due diligence. Before I reached the end of the first paragraph, I realized that I was reading a plagiary of my article, “Purchasing Art in a Market Full of Forgeries: Risks and Legal Remedies for Buyers,” published in the International Journal of Cultural Heritage. The author structured her article on my work, a piece that includes extensive research and that is partially based on experience that I cultivated while working with major art collectors. And rather than just using the outline of my article or presenting some of my arguments, she copied entire sentences. In fact, she went as far as copying entire paragraphs. Shockingly, she even kept the same punctuation, quoting words that I had placed in quotations marks in my article.