The case of Michael Snow's geese instalation at Toronto's Eaton Centre,
has been refered to as an great case study for copyright. It is important to
note that
Snow invoked the Moral Rights provisions of Canada's 1988 copyright
revision, which in the
case of a physical alteration of an art work (other than a change in
location, in display support,
or efforts in good faith to preserve or restore), puts the burden on the
party doing the alteration
to prove that an infringement has not taken place. Previously the artist
would have had to prove that
the alteration was prejudical.  How does U.S. copyright law deal with
physical alterations of an artists
work?

Greg Graham, [log in to unmask]
Balandis Graham Consulting -- arts management
Art Integrity -- Your Gallery on the Web    http://www.odyssee.net/~tom2/fine/
Telephone (819) 684-3942