A funny thing happens when art breaks. Is it still art? That's the question at the heart of a new legal battle in New York City. The artwork in question is a "glass and wire mobile" created by famous sculptor Alexander Calder decades ago. It's made of intentionally broken, colored glass pieces and wire figures that connect and hang. No one doubts that this piece was once Calder's work.

But here's where it gets tricky. Art collector Richard Brodie wants to sell the piece. He says it's worth over $8 million. The Calder Foundation, however, has different ideas. They claim the piece is too broken to be considered a Calder anymore. Brodie disagrees. He thinks the artwork is not broken at all.

This legal tussle raises an important question: who gets to decide when a piece of art is too broken? Is it the artist's foundation, the collector, or someone else? It's a debate that goes beyond this single piece of art. It touches on the very nature of art and its value.

This isn't the first time Calder's work has been in the spotlight. His kinetic sculptures, which move with the wind or other forces, are known for their delicate balance of form and function. They've been featured in museums around the world and have fetched high prices at auctions.

The lawsuit doesn't name the specific work, but it's known to have been owned by Pierre Matisse, the son of famous painter Henri Matisse. He bought it directly from Calder. This art piece has a rich history and a high value.

But the real value, it seems, might not be in the glass or the wire. It could be in the eye of the beholder, or maybe even in the hands of the law. Who knows? That's what makes this case so interesting.

Who Decides When Art Is Too Broken?

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