Former Museum Director Implicated in Basquiat Forgery Scandal Passes Away at 59
**The Rise and Fall of Aaron De Groft: A Legacy Marred by Controversy in the Art World**
The art world mourns the passing of Aaron De Groft, a once-prominent figure in museum curation and administration, who died at the age of 59 on January 18 after a brief illness, as confirmed in an obituary. Known for his ambitious programming and leadership roles at several esteemed art institutions, De Groft’s career trajectory was both illustrious and turbulent, culminating in one of the biggest scandals in recent museum history.
### A Promising Start in Art Leadership
Aaron De Groft’s contributions to the art world began with a promising career working in various museums across Florida. After earning his stripes as a curator and director, De Groft made a name for himself by organizing exhibitions that centered on classical art movements, likely inspired by his academic foundation in art history. One of the biggest hallmarks of his career was his tenure at the Muscarelle Museum of Art at the College of William and Mary, where he helmed significant exhibitions such as *Leonardo da Vinci and the Idea of Beauty* (2015) and *Botticelli and the Search for the Divine: Florentine Painting between the Medici and the Bonfires of the Vanities* (2017). These exhibitions were notable for drawing attention to classical European art—often viewed as an intricate blend of artistic splendor and historical intrigue.
De Groft also held leadership roles at the Cummer Museum of Art and Gardens in Jacksonville, Florida, and the John and Mable Ringling Museum of Art in Sarasota, solidifying his reputation as an individual who was deeply committed to expanding the accessibility of fine art to diverse audiences.
### The Orlando Chapter: Ambition Meets Controversy
In 2021, De Groft took over as the director of the Orlando Museum of Art (OMA), a position he regarded as an opportunity to amplify the museum’s profile and bring forward exhibitions that could generate significant public interest. Yet, this ambitious vision unraveled by mid-2022, when the OMA found itself embroiled in a scandal centering on an exhibition titled *Heroes and Monsters: Jean-Michel Basquiat, the Thaddeus Mumford, Jr. Venice Collection.*
The show promised art enthusiasts an extraordinary glimpse into 25 never-before-seen works attributed to Jean-Michel Basquiat, a legendary American artist who remains a highly sought-after and mysterious figure in contemporary art. According to the narrative behind the exhibition, these works had been discovered in a Los Angeles storage unit owned by Thaddeus Mumford Jr., a deceased screenwriter. However, cracks in the story’s credibility soon emerged, with questions raised about the paintings’ provenance and authenticity.
Federal scrutiny followed. The Federal Bureau of Investigation (FBI) issued a subpoena and launched an investigation that culminated in the seizure of all 25 paintings. It was later confirmed that these were forgeries, and with it, the reputation of the museum—and that of its director—was critically damaged.
### Fallout and Legal Battles
The aftermath of the scandal was severe and swift. The Orlando Museum of Art promptly severed ties with De Groft, initiating a lawsuit that accused him of knowingly exhibiting fraudulent Basquiat works. The museum further alleged that De Groft had planned to profit personally from the sale of the forged artworks, a claim he strenuously denied. The exhibition’s fallout extended beyond just professional ramifications, as funders withdrew their support, leading to financial instability for the museum.
In November 2023, De Groft countered with a wrongful termination lawsuit, calling the museum’s accusations “a damnable and demonstrable lie.” He asserted that the board of trustees had scapegoated him in an effort to protect the broader institution and avoid external scrutiny. In a statement to *Hyperallergic*, he vowed, “I am ready to talk and going to war to get my good name back, my professional standing, and personal and professional exoneration.”
### Legacy in Question
De Groft’s untimely death casts a shadow over a career once marked by innovative museum programming and cultural contributions but later marred by controversy and scandal. While legal proceedings between him and the OMA were ongoing at the time of his death, Florida’s “survival statute” ensures both the museum’s claims and De Groft’s countersuit will proceed.
The art world remains divided on De Groft’s legacy. Some remember his earlier contributions to elevating classical and Renaissance art, while others view him as a cautionary tale—an example of how ambition and the desire for recognition within the art industry can lead to ethical lapses. De Groft’s passing has generated discussion not only about his personal career but also about systemic vulnerabilities in the art world that make it susceptible to fraud, as well as the critical need for rigorous provenance verification.
### The Broader Lessons from the OMA Scandal