The Art Underworld
The theft of Antonello da Messina’s Polittico di San Gregorio (Polyptych of Saint Gregory) panels from the Regional Museum of Messina (MuMe) last Saturday sends a chilling message: in the modern art world, the most valuable cultural treasures are no longer safe simply because they are in a museum. The heist, which saw three of the five surviving panels of this unique altarpiece vanish, suggests a sophisticated operation—possibly commissioned by a broker—targeting the very heart of Italian cultural identity. Yet, a closer look at the global art ecosystem reveals a paradoxical reality. While the theft appears to be a criminal act driven by greed, the underlying motive may be far more complex. The trade in Italian art of historic importance is as brisk as ever, and the pricelessness of these works often exceeds their market value as commodities. This suggests a protective instinct at play: the stolen objects are not merely loot to be sold, but irreplaceable monuments to heritage that are ...