Argott beautifully explicates how this crew pulled off the most daring daylight art theft in history, though his passionate identification with the pro-Barnes faction limits the movie's political nuance.
It's impossible not to be moved by the almost eerie film footage of the walls of the Barnes' original home with the art removed, revealing bare hooks and patches of unfaded paint: ghosts, doomed to wander.
While outraged aesthetes tell us that the Barnes Foundation is a perfect jewel box of a museum, the filmmakers they hired to argue their case don't spend enough time exploring or explaining what makes this cloister so special.
At times, The Art of the Steal is a bit too shocked by the vulgarity of commerce, but it's memorable when it meditates on the changing face of where we look at art, and how that changes the art itself.
Argott treats Barnes' story as an intellectual crime thriller, uncovering each new surprise - and a seemingly endless parade of villains - with a deadpan flourish. Read more: http://www.nydailynews.com/entertainment/movies/2010/02/26/2010-02-26_short_tak