Made You Look: A True Story About Fake Art 

Documentary | English | 94 minutes


Glafïira Rosales, a Long Island resident, visited the prestigious Knoedler Gallery in New York, saying she represented a wealthy anonymous collector looking to sell a vintage Rothko. The painting dazzled Ann Freedman, the gallery’s director. However, Ann was concerned that the painting didn’t have much “provenance” (a paper trail of its history). To make sure, she requested David Anfam, the ultimate Rothko expert, to examine the painting. He did so and declared it the real thing. Ann purchased the Rothko for $750,000, which she considered a “steal.”  Rosales submitted a Jackson Pollock and other paintings, which Anne promptly purchased. When the paintings were ultimately deemed fake, the Knoedler Gallery, 165 years old, predating the Civil War and the city’s museums, was out of business. Many put the entire blame on Ann Freedman, stating, “She should have known better.” Ann, defeated and humiliated, claimed it wasn’t for the profit alone that allowed her to be duped. As film critic Owen Gleiberman wrote, “It was for Ann the incandescent thrill of discovering new works, of bringing them to the world.” 

Ann Freedman (Former Director, Knoedler Gallery)
Eleanore de Sole (Art Collector)
Glafira Rosales (Art Dealer)
David Anfam (Rothko Specialist)
Why Stream This Film?

The common perception by the average person is that art forgeries were sold to uninformed, gullible collectors. Made You Look  will disabuse anyone thinking this way.

  • Rotten Tomatoes Score (Critics Consensus): 88%

Now streaming on:

MADE YOU LOOK is a documentary that’s about nothing less than the most successful forgery scam ever brought off in the high-end art world. It’s a lively and fascinating stranger-than-fiction art-world doc.
Owen Gleiberman


A fascinating depiction of the various dealers, collectors and gallery owners who found themselves embroiled in the largest art fraud in American history.
Michael Rechtshaffen

Los Angeles Times

The sumptuous film, based on Cuarón’s own childhood, reverberates not only with innocence but with the awful intuition of its collapse.
Anthony Lane

The New Yorker

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