Question 1

FEAGA Gallery Awards 2025

Accepted Answer

INFORMATION
 
The European Gallery Award was created by the Federation of European Art Galeries Associations (FEAGA) to highlight the importance of galleries and to honor galleries that are an example in their efforts to support artists and make their work visible.

Sofie Van de Velde, President of the Award Committee, will present the FEAGA Awards this year to Chantal Crousel (Paris) and SUPRAINFINIT Gallery (Bucharest).

To honour the legacy of FEAGA’s long-standing chairman, esteemed college and dear friend Ernst Hilger, he will be posthumously awarded FEAGA Lifetime Achievement Award.

Galerie Chantal Crousel has been instrumental in introducing and championing contemporary artists from diverse backgrounds, establishing itself as a pivotal institution in the global art scene since 1980. The gallery has hosted seminal solo exhibitions for artists such as Mona Hatoum, Gabriel Orozco, and Cindy Sherman, significantly influencing the trajectory of contemporary art. Nowadays, it continues to represent a dynamic roster of artists, participating in major international art fairs and contributing to the discourse of contemporary art.

SUPRAINFINIT Gallery in Bucharest is known for its bold, context-driven program that champions underrepresented voices and fosters long-term artistic careers from the CEE regions. The gallery has launched artists who now feature in international collections and biennials, including the Romanian Pavilion at the Venice Architecture Biennale 2025, while facilitating major institutional placements and publishing over 20 monographs. Through initiatives like co-founding Romania's first art fair and developing new art spaces in cities like Oradea, SUPRAINFINIT has significantly shaped the cultural infrastructure in Romania and the broader CEE region under the leadership of Suzana and Cristina Vasilescu.

For more information about the history of the FEAGA Awards and its previous winners, please contact FEAGA info@europeangalleries.org.(mailto:info@europeangalleries.org)

Question 2

1. Code of Ethics and Professional Practices

Accepted Answer

Download(undefined)
 
The Federation of European Art Galleries Associations (FEAGA) was founded in 1974 with the stated purpose of promoting the highest standards of connoisseurship, scholarship and ethical practices within the art dealing profession. It is the responsibility of each individual Member (hereafter: Members) of the affiliated associations to conduct business in a manner that reflects these standards. Each Member must, of course, comply with all applicable laws and regulations. Beyond this basic standard, however, each Member is expected to conduct business professionally, fairly, with integrity and with the courtesy and respect due to artists, clients, colleagues, other Members, and the general public.
FEAGA has value to the Members where membership in the affiliated associations of FEAGA is regarded as an affirmation of integrity and fair dealing. Where a Member acts in a way that is not consistent with this Code of Ethics, it tarnishes the organization and its other Members, and brings disrepute to the art market more generally. Members therefore understand the fundamental importance of this Code of Ethics.
​
I. Clients
 
A. Buyers
 
(1) Members are expected to provide an accurate description of all objects that they offer for sale. A buyer should be provided with a written invoice containing that description, which should include the identity of the artist, the dimensions and medium of the work, and other relevant information.
(2) Members exercise due diligence in verifying the authenticity of works of art that they offer for sale.
(3) Members do not knowingly buy, sell or exhibit works of art that are not authentic works of art by the artists to whom they are attributed.
(4) Members do not knowingly buy, sell or exhibit stolen works of art, and cooperate with law enforcement authorities in their efforts to identify, locate and recover stolen works.
(5) Members specify in writing significant known defects and restorations of works or art that they offer for sale.
​
B. Consignors
 
(1) A Member understands that he or she acts as an agent of a consignor of a work of art and therefore owes a fiduciary responsibility to the consignor.
(2) A Member should enter into a written consignment agreement that contains a description of each work consigned (artist, title, medium, dimensions), the term of the consignment, the commission to the dealer or the net price to be paid to the consignor, responsibility for expenses, and any other significant term of the transaction. Where a net price is quoted, the Member should make clear to the consignor that the Member will retain any amount received from a buyer that is in excess of the net price. The consignor is expected to warrant that clear and unencumbered title will pass when the work is sold by the Member. It also is expected that the consignor will indemnify the Member against any claim of breach of any express or implied warranty made by the consignor.
(3) A Member provides a consignor with a good faith estimate of the current fair market value of all consigned works.
(4) A Member’s communications with the consignor regarding any aspect of the consignment are expected to be accurate, and must never be intentionally inaccurate or misleading.
(5) A Member should notify the consignor when payment is received for a consigned work, and make timely payment to the Consignor, as agreed.
(6) Members do not knowingly sell works of art that they are not authorized to sell. Nor do Members sell works of art on terms that are not authorized by the consignor.
 
II . Artists
​
A Member understands that he or she acts as an agent for artists that the Member represents and therefore owes a fiduciary responsibility to each artist. Further, a Member representing an artist has responsibilities to the artist extending beyond selling the artist’s works. Those responsibilities may be divided into the (A) advisory, custodial and archival, and (B) financial.
 
A. Advisory, Custodial and Archival
 
(1) A Member acts as an advisor to an artist represented by the Member. The Member seeks to enhance the artist’s reputation through exhibitions, publications, and by acting as an advocate for, and fostering scholarship regarding, the artist’s work. The Member is expected to sell the artist’s work responsibly and seek where possible to place the work in important public and private collections.
(2) A Member is expected to exhibit the artist’s work in such a manner, acceptable to the artist, as shows the work to best advantage.
(3) A Member is expected to act responsibly in the handling, packing, shipping, insuring and storage of the artist’s work.
(4) A Member is expected to maintain appropriate records of the artist’s works in the dealer’s custody and to maintain proper photographic archives and other documentation of those works.
 
B. Financial
 
(1) A Member and an artist are expected to agree on the terms of the representation, including such expenses as shipments, insurance, photography, storage, framing and restoration. Under no circumstances should an artist be charged for the use of a Member’s gallery space for the exhibition of his or her art.
(2) A Member and an artist are expected to agree in advance on prices for the artist’s work as well as the percentage of proceeds to be paid to the Member as compensation.
(3) The Member and the artist are also expected to agree in advance on when and how the Member should account to and pay the artist after a sale is made and payment is actually received by the dealer. A Member is always expected to pay the artist his or her full portion of the proceeds of the sale of the artist’s work on a timely basis, and to take such steps as are necessary or required by law to assure that the artist’s share of the proceeds of the sale of a work of art is protected.
(4) A Member may never use work by one of its artists that is on consignment with the Member as collateral for any form of financing.
(5) A Member is expected to act in an honest and trustworthy manner in dealing with an artist and the works consigned by the artist.
 
III. Artists’ Estates
​
A Member has the same responsibilities to the estate of an artist as to a living artist. This includes the advisory, custodial, archival and financial responsibilities listed above. Members are expected to be mindful that the artist no longer can be his or her own advocate and work actively to develop and foster the market for the artist’s works.
 
IV. Auctions
 
A. A Member who has an ownership interest in a work may not consign that work for auction with the intention of acquiring the work at the auction at a publicly enhanced price.
 
B. A Member who owns or guarantees a work consigned to auction, or has any other financial interest in the sale of the work, is expected to disclose that fact to potential bidders on that work before he or she offers any advice about the work.
 
C. A Member may not bid, or agree with others to refrain from bidding on a work at auction, solely for the purpose of enhancing or depressing the price.
 
V. Dealers
 
A. Members should seek to further mutual respect and enhance the public’s trust in art dealers. To that end, Members are expected to exercise care in making negative comments about other art dealers for the purpose of denigrating their reputations.
 
B. When a work is jointly owned by more than one art dealer, the Member should enter into a clear agreement concerning the price to be obtained, the terms of sale, insurance, and the sharing of costs and profits.
 
C. When a Member consigns a work to another dealer the Member is expected to assure that
 
(1) the consignment is consistent with the Member’s agreement with the owner of the work,
(2) the compensation to be paid to the other dealer is consistent with the Member’s agreement with the owner of the work,
(3) the other dealer is aware of and has agreed to comply with any terms of the Member’s agreement with the owner of the work that may affect the means or terms by which the other dealer may sell the work of art.
 
D. In any transaction in which another art dealer, advisor or other agent is acting for the counterparty to the transaction, a Member is expected to assure that it is clear who is being represented by the Member and who is being represented by the other art professional so that each professional may satisfy his or her responsibility to his or her client.
 
E. A Member does not seek or accept compensation from any party where such compensation would create a conflict with the Member’s responsibility to its principal in the transaction, unless such compensation has been disclosed to and approved by the Member’s principal.
 
VI. Art Fairs
​
The provisions of this Code of Ethics apply to Members with respect to all of their transactions, including their participation in art fairs.
 
VII . Gallery Management
​
Members are expected to treat their staff with courtesy and respect, and to comply with all applicable employment laws, including laws relating to any form of discrimination.
 
VIII. Enforcement
 
A. Recognizing the importance to all Members of protecting the reputation of FEA GA, every Member is expected to respond receptively and cooperatively to good faith concerns raised by other Members with respect to works of art that are being offered for sale by the Member or other matters related to this Code of Ethics.
 
B. If a Member has acted in violation of these guidelines, FEA GA appeals (encourages) affiliated associations to take their own responsibility and take concrete measures according to their own national Code of Ethics.
 
FEAGA
03-06-2019

Question 3

2. New Guide for Galleries

Accepted Answer

• Download here the New Guide for Galleries(undefined)

Question 4

3. Sample Agreements between galleries and artists

Accepted Answer

• Agreement Cooperation Gallery-Artist (FEAGA)(undefined)

Question 5

4. Links and other documentation

Accepted Answer

• Interesting surveys via Pearle.eu(https://www.pearle.eu/publications)
    • 
    • VAT in an international context(undefined)
    • Social security in an international context(undefined)
    • Artist taxation in an international context(undefined)
 • Talking Galleries(https://www.talkinggalleries.com/)
 • Art Dealers Association of America(https://www.artdealers.org/)
 • COVID-19 VAT rate cuts(https://www.avalara.com/vatlive/en/vat-news/category/worldwide.html)
 • VAT for Artists(https://www.artbusinessinfo.com/vat-for-artists.html)
 • Current national VAT rates(https://ec.europa.eu/taxation_customs/business/vat/)

Question 6

5. Articles

Accepted Answer

• 202103 - The Art Market, An Art Basel & UBS Report
 • 202008 - The impact of Covid-19 on the Gallery Sector,  The Art Market Mid-Year Survey, August 2020 by Art Basel/UBS/Arts Economics(undefined)
 • 202009 - German Fine Art Galleries 2020 by IFSE and BVDG, September 2020(undefined)
 • 202005 - 24 Ore: Galleries in the lockdown period in Italy​(undefined)​​​​​​

Question 7

AUSTRIA

Accepted Answer

Die Galerien-Verband Oesterreichischer Galerien moderner Kunst(http://www.diegalerien.at/)
 
Email office(mailto:office@diegalerien.at)
 
President: Martin Janda
Members of the board: Robby Greif, Ursula Krinzinger, Emanuel Layr, Henrikke Nielsen, Rosemarie Schwarzwälder, Sophie Tappeiner.

Question 8

BELGIUM

Accepted Answer

Belgian Modern and Contemporary Art Galleries (BUP)(https://www.bup-galleries.be/)
 
President: Sofie Van de Velde
Members of the board: Julie Senden, Sarah Vanwelden, Frederick Keteleer
Bart Vanderbiesen,  Louis-Philippe Van Eeckhoutte, Joost Delsard

Question 9

DENMARK

Accepted Answer

Danish Galeries Association | Danske Gallerier(https://www.danskgalleri.dk/)
 
Email office(mailto:info@danskgalleri.dk)
 
President: Thorkild N.B. Nielsen
Secretary: Michael Folmer Wessman
Members of the board: Kirstine Tolstrup Nielsen, Marie Kirkegaard, Sophus Gether,
Morten Avlskarl.

Question 10

FINLAND

Accepted Answer

Finnish Art Galleries Association: Galleristit – Galleristerna ry(https://galleristit.yhdistysavain.fi/)
Email office(mailto:galleristit@gmail.com)

President: Marika Sibakoff-Uravirta
Secretary: Maria Ollikainen
Members of the board: Eveliina Tuulonen, Inkeri Kallio, Solveig Lindqvist

Question 11

GERMANY

Accepted Answer

Bundesverband Deutscher Galerien und Kunsthändler e.V. (BVDG)(https://www.bvdg.de/)
 
Email office(mailto:post@bvdg.de)
 
President : Kristian Jarmuschek(mailto:jarmuschek@bvdg.de)
Office: Birgit Maria Sturm,(mailto:sturm@bvdg.de) Silvia Zörner,(mailto:zoerner@bvdg.de) Maria Morais(mailto:morais@bvdg.de)
Members of the board: Karin Schulze-Frieling, Thole Rotermund.

Question 12

GREECE

Accepted Answer

Hellenic Art Galleries Association(http://www.psat-art.gr/)
 
Email office(mailto:info@psat-art.gr)
 
President: Yianna Grammatopoulou
Members of the board: George Kartalos, George Georgakopoulos, Yiannis Kaligas,
Marina Athanassiadou.

Question 13

HUNGARY

Accepted Answer

Association of Hungarian Contemporary Art Galleries(http://www.kortarsgaleriak.hu/en.html)
Magyar Kortárs Művészeti Galériák Országos Egyesülete(http://www.kortarsgaleriak.hu/en.html)
 
Email office(mailto:info@kortarsgaleriak.hu)
 
President: Agnes Taller
Members of the board: Krisztina Dian, Erzsebet Plinger

Question 14

ITALY

Accepted Answer

Associazione Nazionale Gallerie d’Arte Moderna e Contemporanea (ANGAMC)(https://www.angamc.com/)
Email office: info@angamc.com(mailto:galleria@openart.it)
President: Andrea Sirio Ortolani
Vice-Presidents: Giovanni Bonelli, Claudia Ciaccio
Members of the board: Antonio Addamiano, Marco Niccoli, Pietro Vallone, Paola Verrengia
Delegates: Christian Akrivos, Alfonso Artiaco, Giuseppe Filippo Biasutti, Paola Forni, Simone Frittelli, Giordano Raffaelli, Sara Zanin

Question 15

PORTUGAL

Accepted Answer

Portuguese Galleries Association EXHIBITIO – ASSOCIAÇÃO LUSA DE GALERISTAS(http://www.exhibitio.pt)
Email office(mailto:exhibitio2019@gmail.com)
President: Vera Cortes
Vice-President: Jorge Viegas
Members of the Board: Mercedes Céron, Fátima Mota, Ana Matos, Gonçalo de Jesus, Pedro Magalhães, Manuel Ulisses, Francisco Fino, Pedro Loureiro

Question 16

THE NETHERLANDS

Accepted Answer

Nederlandse Galerie Associatie (NGA)(http://www.nederlandsegalerieassociatie.nl)
 
Email office (mailto:info@nederlandsegalerieassociatie.nl)
 
President: Philip de Jong(mailto:ph.dejong@ape.nl)
Secretary: Loes van Campen
Members of the board: Klaas-Jan Visser (treasurer), Jaring Dürst Britt, Geert van der Meulen, Jorien de Vries, Frank Delissen, Berthe Schoonman.

Question 17

RUSSIA

Accepted Answer

Association of Galleries (AGA)(https://agarussia.art/association_en)
Email office(mailto:info@agarussia.art)
Chairman: Sofia Trotsenko
Director: Daria Morgacheva
Members of the board: Marina Gisich, Alexander Sharov, Ksenia Podoynitsyna, Emelyan Zakharov, Elena Selina, Sergey Popov

Question 18

SLOVAKIA

Accepted Answer

Association of Slovak Private Galleries (ASGS)(http://www.asociaciasgs.com/galeacuterie.html)
Email office(mailto:info@rfg.sk)
President: Katarina Sobolĉiaková (Roman Fecik Gallery, Bratislava)

Question 19

SPAIN

Accepted Answer

Idoia Fernández - President: idoia@nfgaleria.com(mailto:idoia@nfgaleria.com)
Olga Adelantado - Vicepresident: olga@luisadelantado.com (mailto:olga@luisadelantado.com)
Guiomar Díez: contacto@consorciodegalerias.com(mailto:contacto@consorciodegalerias.com)

Website: http://www.consorciodegalerias.com/(http://www.consorciodegalerias.com/)

Question 20

SWEDEN

Accepted Answer

Swedish Gallery Association: Svenska Galleriförbundet(http://galleriforbundet.se/)
 
President: Ola Gustafsson
Members of the board: Johanna Malm, Martin Lilja, Gert-Olle Göransson, 
Substitute board members: Ben Loveless, Cecilia Hillström.

Question 21

SWITZERLAND

Accepted Answer

VERBAND SCHWEIZER GALERI EN (VGS)(https://www.artgalleries.ch/en/art-galleries-switzerland.html)
ASSOCIATION DES GALERIES SUISSES (AGS)(https://www.artgalleries.ch/en/art-galleries-switzerland.html)
ART GALLERES SWITZERLAND(https://www.artgalleries.ch/en/art-galleries-switzerland.html)
 
Email office(mailto:info@artgalleries.ch)
 
President : Fabian Walter(mailto:galerie@fabian-claude-walter.com)
Members of the board: Fabian Walter, Diego Stampa, Alex Schlesinger.
Secretary: Sylva Denzler
Revisor: Serge Ziegler

Question 22

UNITED KINGDOM

Accepted Answer

Society of London Art Dealers Ltd. (SLAD)(http://www.slad.org.uk)
 
Email office (mailto:office@slad.org.uk)
 
President: Nicholas Maclean
Vice-chairman: Bona Montagu, Francois Chantala
Hon. Treasurer: Cornelia Grassi
Director General: Paul Hewitt
Administrator: Annick Chanon 
Members of the Executive Committee: 
Melanie Clore, James Holland-Hibbert, Richard Knight, Olivier Malinique, Pilar Ordovas, Sadie Coles, Giles Huxley-Parlour, Simon Lee, John Martin, Polly Robinson-Gaer, Rodolphe Von Hofmannsthal, Christopher Kingzett, Alma Luxembourg, Richard Nagy, Emma Ward.

Question 23

Support for Ukraine

Accepted Answer

We are deeply shocked by the events in Ukraine and want to support the Ukrainian people. If you are looking to aid Ukrainian artists and musea, we advise the following charities/ support actions:

https://www.ne-mo.org/advocacy/our-advocacy-work/museums-support-ukraine.html (https://www.ne-mo.org/advocacy/our-advocacy-work/museums-support-ukraine.html)

Our German member, BVDG, has advised the Deutsch-Ukrainische Gesellschaft für Wirtschaft und Wissenschaft (https://dug-ww.org/)as an organisation that wants to protect Ukraine's cultural heritage.

Question 24

To help developing art gallery associations

Accepted Answer

FEAGA is committed to supporting its members who do not yet have an association, or wish to further develop theirs. We know from experience that gallery weekends can be a good way to make connections between different galleries. Therefore, we are committed to developing a project that can help galleries in this regard. This project is still in its early stages. We will gladly keep you informed about it.

Question 25

Policymaking & Lobbying

Accepted Answer

FEAGA is committed to support her members and the European Art  Market in a multitude of ways. This is achieved through lobbying for issues such as a reduced VAT rate on cultural goods, clear regulations and influence policymakers. We share all relevant information among our members and try to help those who's national situation is unclear.

Question 26

Accepted Answer

FEAGA News December 2022 #45

Question 27

Accepted Answer

FEAGA Short News September 2022 #44

Question 28

Accepted Answer

FEAGA News June 2022 #43

Question 29

Accepted Answer

FEAGA SHORT NEWS 41 April-May 2022 (https://3a051e34-459d-442b-876f-9bf4633263db.usrfiles.com/ugd/49c04f_edc3419224004a5aa0ee31a8a8d21163.pdf)

Question 30

Accepted Answer

FEAGA SHORT NEWS 40 March 2022 (https://3a051e34-459d-442b-876f-9bf4633263db.usrfiles.com/ugd/49c04f_fcce8bf587154067af96499d983916b4.pdf)

Question 31

Accepted Answer

FEAGA SHORT NEWS 39 February 2022(https://3a051e34-459d-442b-876f-9bf4633263db.usrfiles.com/ugd/49c04f_72b35db25212425a85e245bb55d97bbe.pdf)

Question 32

Question 33

Question 34

Question 35

Question 36

Question 37

Question 38

Question 39

Question 40

Question 41

Question 42

Question 43

Question 44

Question 45

Question 46

Question 47

Question 48

Question 49

Antoon Ott Report  Summary   EAMC actions 2020 concerning the import and export by Art Dealers

Accepted Answer

NB This concerns art dealers in Old Masters, Antiques and Ancient art, not Contemporary Art
 
Regulation (EU) 2019/880 on the introduction and the import of cultural goods.
 
This Regulation prohibits the import of any cultural object that was removed from the territory of the country where they were created. 
 
The EAMC met with the Taxation and Customs Union (DG TAXUD) of the European Commission. Purpose was to get clarity on the practical implementation of Article 3(1). 
The Article enters into force in the end of this year.
 
In the Regulation Article 3(1) is very unclear:
The introduction of cultural goods referred to in Part A of the Annex which were removed from the territory of the country where they were created or discovered in breach of the laws and regulations of that country shall be prohibited. The customs authorities and the competent authorities shall take any appropriate measure when there is an attempt to introduce cultural goods as referred to in the first subparagraph.
 
We pointed out that Article 3(1) of the cultural goods import regulation and the Annex, Part A, to which it refers covers virtually everything that is sold in the art market, irrespective of its value or date, unlike the Annexes, Part B and Part C, relating to Articles 4 and 5, which include financial and date thresholds as to the objects affected. 
 
We emphasized that there is no time limit with regard to the date of alleged illicit exports. This could result in delays or confiscation of such goods by national authorities. 
 
The DG TAXUD highlighted that Article 3(1), which they refer to as the so-called ‘general prohibition rule’ limits itself to replicating the principle contained in the 1970 UNESCO Convention providing that the import of cultural goods into the EU which were illicitly exported from their country of origin would be prohibited. 
This ‘general prohibition rule’ would not require EU Member States to carry out systematic controls at the borders, nor would it impose the accomplishment of any additional formalities by operators/importers beyond the formalities already required by general EU customs rules. 
 
We underscored that the positive proof of the circumstances of an object exported decades ago is almost certainly impossible to come by in the vast majority of cases, saying it would thus likely be impossible to provide evidence to refute a claim, however tenuous it might be.  
 
We expressed our view that the Commission didn’t sufficiently think through potential challenges that this provision would entail for art dealers and illustrated our point by an example.
The DG TAXUD said they were surprised about our remaining concerns, saying they thought that the regulation in its final shape had addressed any concern we might have.
 
We explained that this was not the case and urged them to publish a guidance document aimed at helping art dealers comply with this provision. 
 
The DG TAXUD said they would consider our request and think through whether this would be appropriate.

Question 50

Antoon Ott Report  Summary EAMC action on the Anti-Money Laundering in the art market

Accepted Answer

The EAMC took action for the survey of the European Commission (EC) about the Anti-Money Laundering (AML). The EC investigates if it is necessary to change the Directive on AML into a more strict and uniform Regulation in all Member States. The existing AML rules need to be revised.
Summary:
There is no uniform European art market so it does not seem reasonable to create uniform AML rules that would have the effect of over-regulating the art market. Furthermore, a Regulation would ignore the diverse traditions concerning means of payment and the thresholds in different Member States. EAMC is therefore strongly opposed to this harmonization that will risk imposing a disproportionate burden on art dealers and auction houses and will prevent Member States adapting rules to accord with their own local circumstances. 
History: 
Before the 5th AML Directive came into force the AML rules applied to all persons trading in goods only when cash payments of € 10,000 or more were accepted. The 5th AML Directive imposes new rules with an expansion of this threshold value to Art Dealers also for non-cash transactions. 
The EAMC does not consider these new rules to be justified. The same rules should apply to Art Dealers and other persons dealing in goods alike. When the European Parliament voted to extend the draft 5th AML Directive to art market operatives, no detailed risk assessment of money laundering within the art market had been made. Annual reports from supervisory organizations show that among there are no unusual and no evidence of increased money laundering nor terrorist financing in the art market. 
The art market is characterized by medium-sized, owner-operated companies that have a long and close relationship with their customers. 
EU AML rules on the art market are a disproportionate burden. They weigh particularly heavy in a market with small to medium-sized galleries, which cannot comply with the same rules that apply to large banks and financial institutions. Galleries often have only a handful of employees and auction houses may have between 5 and 20 employees on average. 
A special solution must be found for Art Fairs. Completing all formalities required by the EU AML rules can be a ‘deal breaker’. The sale of a unique work of art is a precarious act. 
For Auction houses, an exemption from the obligation to identify customers before a transaction has taken place is needed. When giving out the bidders’ numbers before an auction, no one knows the potential buyer of the object or whether the object will exceed the threshold value of € 10,000. The result is that checks have to be carried out with regard to all potential buyers, whereas it should be allowed [to] only to identify the final buyer after the auction has taken place. 
We therefore hope that the functioning of the 5th AML Directive will be thoroughly evaluated and that the impact of the rules will be realistically balanced against the objective of preventing money laundering. In our view, this should lead to a relaxation of EU AML rules on art dealers and auction houses, especially as far as payments made through regulated banks are concerned.

Question 51

BULGARIA

Question 52

CYPRUS

Question 53

ESTONIA

Question 54

POLAND

Question 55

SERBIA

Question 56

SLOVENIA

Question 57