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Controversial Picasso Paintings in MONA Women’s Restroom Revealed to be Fakes

Three Picasso paintings at the center of a recent controversy have been revealed to be fake.

The paintings formerly hung at the Ladies Loung of Tasmania's Museum of Old and New Art, curated by American artist and curator Kirsha Kaechele. The space is richly decorated with green velvet drapes and gold detailing and was formerly open exclusively to women for them to enjoy "priceless works of art including several that demonstrate the genius of Picasso," while being served by male butlers.

Ladies Lounge
MONA’s Ladies Lounge is an opulent exhibition formerly open only to female visitors, and gave them the opportunity to enjoy art in a luxurious environment while being served by male butlers. Museum of Old and New Art

Last year, the exhibit came under the spotlight when museum visitor Jason Lau said he experienced direct gender discrimination when he was denied access to the Lounge despite paying the entry fee. Kaechele said denying men entry into the room--thus giving them an experience of discrimination and exclusion--was an integral part of the exhibition. Even so, MONA was subsequently forced to open the exhibition to men earlier this year.

Kaechele found a loophole by moving the artworks to the women's restroom, where they could be viewed exclusively by female visitors uninterrupted.

Then on July 10, she revealed on her blog that she had made the paintings herself, with help from her manicurist's niece. The reason, she says, was that she needed green Picasso paintings to match the drapery of the Ladies Lounge. Kaechele wrote:

"I knew of a number of Picasso paintings I could borrow from friends, but none of them were green and I wished for the Lounge to be monochrome. I also had time working against me, not to mention the cost of insuring a Picasso-exorbitant!"

She also revealed that a collection of New Guinean spears and a rug presented as once belonging to Queen Mary of Denmark are all new.

The stunt has received negative feedback from some critics, including Elizabeth Fortescue, who called Kaechele "a very skilled provocateur." She added: "It wouldn't surprise me if the public felt betrayed or hoodwinked in this case, they might feel that MONA has tried to make them feel silly."

Critic Chritopher Heathcote described it as "childish" and "unprofessional," and said it "reflects poorly on MONA."

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