Each week, we scour the internet for the most significant, surprising, and outrageous art news—helping you stay informed (and sound smart). Have a suggestion? Let us know on social media (@meetmeural) with the tag #thisweekinartnews. (See all installments.)

1. “Getty Museum Ordered to Return 2,000-Year-Old Ancient Greek Statue by Italy Supreme Court” by Clémence Michallon, Independent

The J. Paul Getty Museum in Los Angeles, also known as the “Getty,” houses a truly impressive collection of art ranging from Medieval to the present (in the Getty Center), as well as Ancient Greece and Rome (in the Getty Villa). But it seems they may soon lose one of their most revered pieces: Victiorious Youth (also known as the “Getty Bronze”, perhaps soon to be called “the artwork formerly known as the Getty Bronze”). For years, Italy’s government has laid claim to the work, due to the fact it was likely smuggled out of the country years ago (the Getty bought it in 1977 for $4 million). This comes as just another chain in a long series of disputes the Getty has had with Italy and Greece over the origins and legality of works in their collection. It’s hard to imagine it will be the last.

2. “Art Dealer Who Claims He Found Six De Koonings in a New Jersey Storage Locker Sells Them for Combined $2.5 Million” by Henri Neuendorf, artnet

There have certainly been worse things to find in a New Jersey storage locker. Ah, but the story might not be as clickbait-ready as the headline implies. The lucky man, David Killen, was aware that the locker belonged to a deceased art conservator, Orrin Riley, and his partner, Susanne Schnitzer. He made a $15,000 gamble—the price of the locker—and found, among some 200 “minor works by minor artists,” some not-minor works by the very not-minor Willem de Kooning. And here’s where the elbow grease comes in. Holding three self-organized auctions, he sold the paintings for $1.2 million; $690,000; $270,000; $240,000; $72,000; and $31,200, respectively—a total of $2.5 million. It might be a stretch to turn this story into a Hollywood script but we wouldn’t be surprised if it was already optioned.

3. “Art Made by AI is Selling for Thousands – Is It Any Good?” by Thomas Graham, BBC

What makes art art? This question, debated by college freshmen everywhere, has been given new life, thanks to a scandal involving AI art, contested ownership, and a frenzied auction. Earlier this year, a french art collective called Obvious auctioned a work of theirs (or rather, a work created by artificial intelligence), for $432,000; the work was produced with an algorithm that had been trained on portraits created between the 14th and 20th centuries. Now, all involved are coming under fire after it was discovered the painting had a lot less to do with computers and a lot more to do with human intervention.

4. “Art Handlers at MoMA PS1 Demand Same Pay as Manhattan Colleagues” by Colin Moynihan, New York Times

Art handlers are the invisible saints of the art world. If they do their job well, you never know that they were there. They’re the ones who put together exhibits (according to the artist’s often painstakingly detailed instructions), and tend to be artists themselves. Per The New York Times, they, like many workers, are finding pay disparities that fail to align with the value they provide—specifically, within two branches of the same institution: the Museum of Modern Art (in Manhattan), and its outpost in Queens, MoMA PS1. While MoMA workers can get upwards of $47 an hour, their Queens counterparts make at most two-thirds of that—and they’re starting to fight back.

5. “Who Has the Right to Nazi-Looted Art” by The Los Angeles Times Editorial Board, The Los Angeles Times

In an editorial that strikes a chord with the first item on this list, the Los Angeles Times has published a piece on what they call “the greatest cultural theft of all time”: the looting of art by Nazis. What started as an issue in black and white—violent, criminal acts—has created a wide range of subtle moral dilemmas. Over time, looted works made their way to private and public collections, bought by collectors who might have (or might not have) known their works’ provenance. (The painting above, by Camille Pissarro is one such contested work.) In the article, the Times editorial board implores all owners to do their due diligence. The writers should also be lauded for stating outright what might normally be sweeped under the rug: “Some private collectors have the resources to withstand the financial loss of a valuable artwork; others don’t.”