"What’s more vital, a dead man’s acrimony, or the relationship between classic art and the public?"

Film critic Michael Atkinson reviews The Art of the Steal:

"But the larger questions begin to nag, as it becomes clear that Argott’s position is that ... the limitations [Barnes] put on the collection’s use are by themselves pure, righteous and meaningful. They’re not, really. The undisputed legal legitimacy of the Barnes will notwithstanding, it doesn’t really matter to the art itself if it’s rarely seen in a suburban building or if it’s seen by millions in Philadelphia."