She tells James Panero in New York magazine.
Judith Dobrzynski has "a nagging question; Knoedler sold 40 allegedly fraudulent works for $63
million. But she paid much, much less to Rosales. How does she explain
that gap? Rosales knew what she had. How did Freedman get such giant
markups without doing additional research, conservation, or any of the
other things that allow dealers to double and triple the prices they
Greg Allen: "Like Vincente Gigante in GVill, Freedman's shuffling around the art world in a victim robe."
UPDATE: Patricia Cohen says what makes Panero's an exclusive is it's a "story no one else wants."