But Cantor was especially guilty of a mercenary overreaching, as the firm tried in every way possible to maximize the returns it derived from the even vaster insurance fraud and public welfare scam, which meant to compensate all the business and union participants in the conspiracy. Cantor now runs the risk of being the agent that will expose the full parameters of the whole dreadful scheme. For the realm of art can be less about beauty, and more about the power of truth to address such dissembling aspects of human nature.
This art insurance scam extends even unto the insurers themselves. From Lloyd's of London to Omaha's Berkshire Hathaway, and from Swiss Re to Munich Re, 9/11 was designed as a seamless enterprise of aligned pro-Western business interests, with the projected winners and losers not relying on spread sheets or accounting ledgers, but on an exclusive adherence to their holy books.
The public record is unmistakably clear in its indictment of a high-level art insurance fraud---as told to us little people in a story beyond the ability of the powers-that-be to further blend or alter that reality by fudging, or manipulating, or suppressing the media evidence.
The story of corporate material loss began within days of the story of the thousands of corporal souls who suddenly vaporized that day. On September 15, the Minneapolis Star Tribune published an article by Greg Gordon whose title spoke to the human tragedy---Trade Center bond firm is hit hard; 700 workers perished in Cantor's lofty headquarters--- but whose second paragraph was a mysteriously tensed name drop:
The company's late founder, Bernard Cantor, for years boasted of having the world's highest museum, exhibiting some of his collection of Rodin sculptures outside his 105th-floor office, including a copy of "The Thinker."Since Bernie Cantor died in 1996, after opening his famous Rodin sky-museum in 1981, and then closing it in 1984,2 his boasting years were not exactly contemporaneous with the events of 9/11.
But the problem with timing could be the fault of Howard Lutnick, Bernie Cantor's protege. As Gordon writes,
Lutnick said he arrived to find the building on fire and stood at the bottom, frantically questioning fleeing occupants as to what floor they had come from. The highest he heard was the 91st. Lutnick said that when the second plane hit, people began screaming and he turned and ran, but was knocked to the ground amid smoke and debris.Lutnick seems to be confusing the second plane hit with the smoke and debris storm from the first building collapse, as well he should. During his September 13th ABC interview with Connie Chung,77 Lutnick says the that collapse sounded a lot like the earlier plane crash
...but I got up to 91, and then I heard this sound. It sounded like another plane was going to hit the building, and it was...but it didn't sound like it was far away. It sounded like it was, like, right were the ceiling is above us. It was so unbelievably loud, and someone screamed out, "another one is coming!" So I just turned around and I ran, and I was running...But since Lutnick was with his driver at the Horace Mann School on the Upper East Side when the first plane "hit," it's unlikely he could travel down the length of Manhattan in the 17 minutes between the two plane strikes to have heard it himself first-hand.
Connie: What was it?
Howard: It was, it was, number 2 World Trade Center collapsing. So I'm, I'm standing underneath a building like an idiot, um,
The Gordon article quotes a former Cantor employee, Gary Ekelund, who said it took him three-and-a-half hours to get out in 1993. "The building [was] a death trap. Always has been." How workers could make it down 91 floors within the 73 minutes between the first plane strike and the first building collapse, then out through the underground plaza to Church Street to meet up with Lutnick, seems impossible, unless the building was mostly emptied out in advance. Gordon's piece also contains a counting discrepancy:
Ekelund, ironically, may owe his life to Cantor's innovation. When the firm shifted from voice trading to electronic trading in recent years, it reduced its Treasury securities trading staff from 500 to 40. Ekelund was among those laid off.On September 24, Maureen Fan, writing for the Knight Ridder chain, quoted a higher figure75
Though much is made of the family-like nature of Cantor Fitzgerald, it still was, and is, a hard-nosed business. Nearly 500 people had lost their jobs before Sept. 11, and 300 more were about to be axed, made obsolete by the success of their electronic bond-trading network, DaPuzzo said. [Peter DaPuzzo, co-president of equities,]While Spencer E. Ante, writing in Business Week seven days before 9/11,76 mentions Cantor's bond brokers who once
would have been surrounded by 220 screaming comrades hard at work matching buyers and sellers. Now, he's one of just 25 brokers whiling away the day and waiting for the phone to ring.On a 40,000 s.f. trading floor, 25 brokers could be mistaken for 40 on a bad hangover morning, but you'd need to be on hard drugs in order to reference with a straight face a number like 300 brokers, who were yet to be let go.
The case for Cantor's lost Rodin sculptures really took off a week later, when Maev Kennedy wrote a paean in The Guardian, bemoaning that "[a] spectacular art collection...has been destroyed." Naming Bernie Cantor as "the greatest private collector of works by Rodin in the world," with oblique syntax we're informed "there still remained a spectacular private collection, still being added to by his widow, and the now lost corporate collection in the World Trade Centre."
On September 23rd, the London Mail on Sunday called the Cantor holdings on the 105th floor "one of the world's most precious art collections."
The Art Newspaper published a motherload of original source material in an article by David A'rcy, dated September 24, which quoted Dietrich von Frank, the President and CEO of AXA Nordstern Art Insurance, the world's largest art insurer, who just days after the attacks had estimated art losses from the World Trade Center attacks at more than $100 million. A'rcy first says that
Dr von Frank would not name his firm's clients in the World Trade Center, yet he did indicate that AXA was not the insurer of such collections as Salomon Smith Barney, Morgan Stanley, or Goldman Sachs.then he goes on to note that
One of AXA's principal clients in the buildings was the brokerage house, Cantor Fitzgerald, whose offices contained 300 Rodin sculptures, among other works.thus establishing a blind attribution for a figure as drug-inflated as Cantor's 300 supernumerary voice-bond brokers. Perhaps to compensate for such a horrible journalistic failing, A'rcy counters with a bit of real skepticism:
In Europe many insurance companies will not cover losses that result from acts of terrorism.Since the United States responded by invading the sovereign nation of Afghanistan, a fair case could be made that the 9/11 attacks were indeed acts of war, and not classifiable as non-state terrorism, but AXA's Dr. von Frank seems strangely compliant in the face of unexpected and monumental business reversals. Going into further details of such a liberal policy, von Frank let's us know who ultimately will be paying the bill
In the US, where terrorism is infrequent enough not to be exempted in policies, acts of land war are not covered, and some firms have sought to interpret the attacks on the World Trade Center as acts of war to limit their own liability.
AXA would not be looking for any of those loopholes, Dr von Frank said: "I don't think anybody in their right mind would exclude these kinds of terrorist activities. It is covered."
Many art insurance policies have a "25% acquisition" clause, which presumes that art collections are fluid, and insures works of art from the time of purchase, from which the buyer has up to 90 or 120 days to notify the insurer.
The policies presuppose that a certain percentage of works in an active collection might be newly acquired, and insured automatically. That provision seems strangely generous and trusting.
Policies that cover entire collections provide insurance for objects that might be moved back and forth or, in the case of corporate collections, between offices. "You do not necessarily know all the time where the work of art is," said Dr von Frank.Isn't it interesting to note that in addition to their massive headquarters building at 130 Liberty Street, which was badly damaged on 9/11, that Deutsche Bank also maintained midtown premises. Several other large World Trade Center tenets concurrently leased office space in midtown, which they slipped comfortably into after the disaster.
A major corporate collector like Deutsche Bank (not an AXA client) may well have moved art from its offices near MoMA to its offices in the World Trade Center.
Dr von Frank expects art insurance costs to rise as a result of the losses suffered in the attacks,
The public relations effort establishing Cantor's terrible art losses began in earnest before the month was out:
September 30, 2001, Chicago-Sun Times: "Under the rubble of the World Trade Center lie the remains of 300 Rodin bronze sculptures."
October 5, 2001, BBC News: "One of AXA's principal clients in the buildings is known to have been brokerage house Cantor Fitzgerald, whose offices contained 300 Rodin sculptures, among other works." Quoting AXA, the august BBC went on to warn of the consequences being faced
An AXA spokeswoman told BBC New Online: "There will be a global effect on the art insurance industry.October 07, 2001, The (Irish) Post: "Many Wall Street companies and law firms located in the twin towers and nearby adorned their spaces with original and rare pieces of art. The best known was the 'museum in the sky' in the offices of Cantor Fitzgerald, the firm on the top floor...This was the largest and most comprehensive private collection of works by Auguste Rodin in the world. Most were given away to museums, but more than 350 that were in the WTC are missing."
"This is the biggest single disaster ever to affect the industry.
"We'll probably see an acceleration of art insurance costs."
The Irish Post went on to add that
AXA Nordstern Art Insurance, the world's largest art insurer, has said losses will top $100 million. AXA, which insured the Rodin sculptures, has set aside $20 million for its share of the claims. One art expert has placed the value of Red Stabile alone at $25 million.How AXA determined a total figure of art losses at over $100 million, given the 400 or so potential corporate art collections impacted by 9/11, is a neat trick. AXA insured Cantor and two collections belonging to Larry Silverstein---eight pieces of public art in the WTC complex, and his personal corporate art holdings. The expert who valued the Calder stabile had his decimal in the wrong place---even $2.5 million is wildly generous price tag for such an undistinguished Calder. AXA budgeted $20 million to cover both Lutnick and Silverstein, while pumping up expectations for huge uninsured losses for both of these customers---sums which would come straight off the top of their corporate taxes payable to the federal government. And with Cantor being a privately held company, only the IRS will know for sure.
October 14, 2001, The Mail on Sunday: "Cantor Fitzgerald, the company that lost so many workers, was famed for its collection of 450 Rodin sculptures. The collection was the biggest outside the Musee Rodin in Paris and many pieces were lost."
Occasionally, an honest journalistic skepticism shows itself. That a New Zealand newspaper like the following could reconcile wildly divergent estimates of loss with a frank ambivalence, damns the rest of the English-speaking press as lazy minions of an organized information campaign that disseminates any and all such narrative details.
October 17, 2001, The (New Zealand) Press: "The bond-dealing firm, Cantor Fitzgerald, was housed on the 105th floor. Its offices contained a significant collection of Rodin sculptures, but it is still unclear how many were in the building at the time of the attack. Estimates range from dozens to several hundred."
There are always exceptions to any organized professional homogeneity, and the system of control makes allowances for them. The November 2001, Art News, published an exceptional piece titled "Aftershocks," which directly addresses the fraudulent Cantor public relations effort claiming an enhanced victimization.
One of AXA’s clients is Cantor Fitzgerald, a top bond brokerage firm on Wall Street that had offices in the north tower and lost a major art collection. A spokesperson for Cantor Fitzgerald, which lost more than 600 employees in the collapse of the towers, said the company was "not yet in a position to comment on the collection. It’s down the list of priorities being worked on right now."The Art News article gives readers some knowing details about the various other corporate collections affected---art losses which don't register as being very sever given the hubbub that attends them. What does appear to be an operative concern is the matrix of graft and corruption surrounding these corporate collections.
The company’s founder, the late B. Gerald Cantor, was the world’s largest private collector of Rodin sculpture, having acquired more than 750 works by the artist. Cantor and his wife, Iris, donated more than 450 works to museums and universities. In 1981 Cantor opened a 4,000-square-foot gallery in the Cantor Fitzgerald offices on the 105th floor of the tower, where he kept 100 sculptures and drawings.
Cantor later decided to close the corporate gallery because its popularity with the public made it difficult to conduct business. In 1996, after Cantor’s death, all of the Rodins owned by Iris Cantor and the Iris and B. Gerald Cantor Foundation in Beverly Hills were removed, leaving four Rodin works in the Cantor Fitzgerald offices, says a knowledgeable source. It is not clear what art objects may have been added to the corporate collection in the past five years, according to informed sources.
AXA’s von Frank says it is impossible to know at this point how many works were destroyed. An accurate number may never be determined because of the extent of the damages, the number of insurance companies involved, as well as the allowances and limitations of some policies. For example, a policy covering unnamed locations allows companies to move artworks to and from office buildings without informing their insurance carrier, making it difficult to know what might have been in the World Trade Center at the time of the attack. In addition, the dollar amount paid out by insurance carriers to companies may be much lower than the actual value of the art collections, because some firms, never anticipating the destruction of their entire collections, may have opted for a loss-limit policy, wherein reimbursement would not exceed a predetermined sum no matter how many objects were destroyed.Another article from November 19, in Business Insurance magazine, reports these issues with the same professional standards as found in the Art News piece, but the effect such narrow, technical outlets carry when weighed against the combined impact of the larger news organizations is negligible at forming public opinion with the real truth of a matter. For instance, contrast the following information
Fine-arts market sources say that AXA insured Cantor Fitzgerald's art collection, which at one time included 100 Auguste Rodin sculptures and drawings. According to Art News magazine, all but four of the Rodin works were removed from the 105th floor of the North Tower in 1996, after the death of the firm's founder, B. Gerald Cantor. What might have been added to the corporate collection since then remains unclear, the article notes.with this piece of information:
The WTC and the plaza area surrounding it were home to more than $10 million worth of public art, which was acquired by the Port Authority of New York & New Jersey and later transferred to Silverstein Properties as part of its long-term lease of the center. Among the destroyed pieces was a $2.25 million Alexander Calder mobile; a $2 million Joan Miro tapestry, a $1 million Fritz Koenig fountain and a $1 million Masayuki Nagare sculpture.
New York-based AXA Art Insurance Corp., a subsidiary of Paris-based AXA S.A., insured the eight public art pieces that Silverstein acquired in the lease deal.
According to information supplied by the Port Authority, those eight pieces of art had insurance appraisals totaling nearly $10.2 million. An AXA spokeswoman said that the art was insured on a scheduled policy, meaning that each of the art pieces was insured to its full value.
In addition to Silverstein Properties' public art collection, AXA also insured two private corporate art collections in the WTC, the spokeswoman said. It expects to pay out a total of $20 million in art losses, or $2.5 million net of reinsurance, to its three clients, she said. In all, AXA estimates that "well over $100 million'' of art was destroyed in the WTC collapse.
The spokeswoman noted that for two policyholders the value of their collections is "much higher'' than the amount AXA will pay out in insurance claims. This is because the clients, never anticipating that their entire collections might be destroyed in a single event, opted for a ``loss-limit'' policy, which is based on probable maximum loss scenarios.
In addition to AXA, other major players in the fine-arts insurance community include ACE USA Inc., Atlantic Mutual, Chubb Corp. and underwriters at Lloyd's of London. All but ACE, which would not comment, reported that they had little, if any, art exposure at the WTC.Apparently, the corporate art holdings destroyed in the WTC on 9/11 were so insignificant that a general business insurance was expected to cover the loss. Except---that is, for Silverstein, who gets $2.25 million for a recently acquired Calder, and Lutnick, who gets God only knows what.
1 May 13, 1968, New York Times, "Ex-Stadium Vendor Is Giving a Rodin to Museum," Esterow, Milton,
2 May 4, 1989, New York Times, "A 'Love Affair' With Rodin That's Worth Celebrating," by Georgia Dullea,
3 January 24, 1999, SFGate.com, "Giving Everything They've Got: Keeper of the Rodin-Inspired Flame," by Edward Guthmann,
4 September 15, 2001, Star Tribune (Minneapolis, MN), "The Victims; Trade Center bond firm is hit hard; 700 workers perished in Cantor's lofty headquarters," by Greg Gordon, Cached,
5 September 21, 2001, The Guardian, "Rodin treasures destroyed with 'museum in the sky," by Maev Kennedy,
6 September 23, 2001, The Mail on Sunday (London, England) "Legal nightmare over terror bills; Vital insurance deals on twin towers were incomplete," by Lisa Buckingham, Cached,
7 September 24, 2001, The Art Newspaper, "The smoke and the risk," by David A'rcy,
8 September 27, 2001, USAToday.com, "Fine Art Worth $100M Lies Under WTC Rubble," by Noelle Knox, Reposted at Rense, [Text of article Missing Online]
I first found the USAToday article by Noelle Knox in a solitary reposting at Rense.com. After finally cross-checking, I see that the Roth Chicago-Sun Times article is substantially the same, and it has the better claim to the text, as Highbeam has the better reputation.
9 September 30, 2001, Chicago-Sun Times, "$100 million in fine art gone; Dozens of works by Calder, Rodin and others lost in World Trade Center destruction," by Katherine Roth, Cached,
a painting by Lichtenstein from his "Enablature" series that was in the lobby of 7 World Trade Center;
10 October 4, 2001, Australasian Business Intelligence/ The Australian Financial Review, "Vast collection of art works destroyed in attacks," by Robert Bolton, Cached,
11 October 5, 2001, BBC News, "Up to $100m art lost in attacks,"
12 October 07, 2001, The (Irish) Post, "Museum in the dust," by Margaret E Ward,
13 October 13, 2001, Knight Ridder/Tribune Business News / Financial Mail, London, "Collecting Column," by Lorne Spicer,
14 October 14, 2001, The Mail on Sunday (London, England) , "Lost for ever, works that art became symbols of success," by Lorne Spicer, Cached,
15 October 16, 2001, NPR, "Lost Art: Hundreds of Works Were Destroyed in the Trade Center Attack,"
16 October 16, 2001, NPR Morning Edition, "Profile: Important pieces of art lost at the World Trade Center," by Bob Edwards, Cached,
17 October 17, 2001, The (New Zealand) Press, "Payout after attacks," by Christopher Moore, Cached,
18 October 21, 2001, NPR, "Found Art: Parts of Calder Sculpture Retrieved from Trade Center,"
19 October 21, 2001, New York Times, "At Landfill, Tons of Debris, Slivers of Solace," by Dan Barry and Amy Waldman,
20 November 2001, Art News, "Aftershocks: From death and displacement to questioning the role of artists and museums in the face of devastation to the loss of $100 million worth of art—the repercussions continue," by Kelly Devine Thomas,
21 November 1, 2001, Art Business News, "Twin Towers disaster affects NY art world," by Julie Mehta, Cached,
22 November 19, 2001, Business Insurance, "Loss picture bleak for WTC art," By Sara Martin, Cached,
23 December 10, 2001, New York Magazine, "Howard Lutnick's Second Life," by Meryl Gordon,
24 December 12, 2001, Los Angeles Times, "Art Bent but Not Broken: Should Alexander Calder's once-imposing sculpture, reduced to twisted metal on Sept. 11, be rebuilt or left as is? by Karen Kaplan,
[The same Kaplan article, with various edits, and a slightly different emphases, reprinted by the LA Times 21 days later.]
25 Jan. 3, 2002, Los Angeles Times, "Sculpture crushed on Sept. 11 takes on new symbolism," by Karen Kaplan
26 January 15, 2002, New York Times, "At Landfill, Buckets Full Of Memories," by Tina Kelly,
27 January 15, 2002, The Boston Globe, "They Sift Tons to ID the Lost of Sept. 11 Those on Site See This, Too, as Sacred," by Fred Kaplan, Globe Staff, Cached,
28 January 25, 2002, Photos of the Fresh Kills Landfill taken by Cryptome
29 January 28, 2002, Newsweek International, "Letter From America.(touring Fresh Kills landfill in Staten Island where World Trade Center debris is being moved,)" By Julie Scelfo, Cached,
30 February 28, 2002, IFAR.org, "The Art Lost by Citigroup on 9/11" by Suzanne F. W. Lemakis,
31 February 28, 2002, IFAR.org, "September 11th: Art Loss, Damage, and Repercussions," Public Art at the World Trade Center by Saul Wenegrat,
32 February 28, 2002, IFAR.org, "The Response from the Insurance Industry," by Dietrich von Frank,
33 February 28, 2002, IFAR.org, "The World Trade Center Memorial, 1993," by Elyn Zimmerman,
34 February 28, 2002, IFAR.org, "Art Damaged on 9/11: The Insurance Adjuster's Role," by Gregory J. Smith,
35 February 28, 2002, IFAR.org, "The Heritage Emergency National Task Force," by Lawrence L. Reger,
36 February 28, 2002, IFAR.org, "The Artist Residency Program in the Twin Towers," by Moukhtar Kocache,
37 February 28, 2002, IFAR.org, "The Downtown Institutional Impact," by John Haworth,
38 March 9, 2002, The Scotsman, "Picking up the pieces," by Rhiannon Batten, Cached,
39 May 11, 2002, New York Post, "WTC Art Plunder Eyed," by Philip Messing, Reposted at www.museum-security.org, Cached,
40 May 20, 2002, Associated Press, "Missing from World Trade Center rubble: a Rodin masterpiece, 'The Thinker,'" by Tom Hays, Cached,
41 May 20, 2002, New York Times, "Born of Hell, Lost After Inferno; Rodin Work From Trade Center Survived, and Vanished,"
42 May 21, 2002, ABC News, "Rodin sculpture recovered from World Trade Centre disappears,"
43 May 21, 2002, The Guardian, "Ashcroft drawn into row over September 11,"
44 May 24, 2002, The Vigilance Voice Blog, "The Thinker... Symbol of Vigilance," by Cliff McKenzie,
45 June 3, 2002, Heritage Preservation, "Heritage Preservation Publishes First Comprehensive Study of Loss to Nation's Cultural Heritage as a Result of 9/11," Report of Losses to Artistic, Historic and Archival Heritage in Lower Manhattan and at the Pentagon, Includes Results of Survey of Affected Institutions Regarding Emergency Response Procedures
46 June 4, 2002, Associated Press / The (Bergen County, NJ) Record, "Sept. 11 cultural losses tallied," by Alpert I. Lukas, Cached,
47 June 4, 2002, AP Online, "Report Details Artifacts Lost 9-11," by Alpert I. Lukas, Associated Press Writer,
48 September 5, 2002, United Press International, "Sept. 11: Art Destroyed, Created in NYC," by Frederick W. Winship, Cached,
49 September 7, 2002, National Post, (Financial Post), "Out of this has come a community," by Theresa Tedesco, Cached,
50 September 8, 2002, Sunday Mail (Glasgow, Scotland), "Witness: September 11 tribute Remains of a day of devastation; The world's fifth and sixth tallest buildings were crushed into 1.6 million tons of smoking concrete and steel, a tomb for 2801 innocent victims. The statistics compiled during the painstaking recovery operation tell their own horrific story," Cached,
51 September 8, 2002, New York Post, Cantor Fitzgerald Regains Its Grip," Cached,
52 September 10, 2002, New York Times, "From Devastation to Determination," by Diana B. Henriques,
53 September 11, 2002, Asbury Park Press, "A scene too real to be in a movie," by A. Scott Ferguson,
54 November 2002, Library of Congress Information Bulletin, "Lives and Treasures Taken: 9/11 Attacks Destroy Cultural and Historical Artifacts," by Donna Urschel,
55 January 1, 2003, NFPA Journal [National Fire Protection Association,] "Lost art," by Bill Flynn, Cached,
56 Feb. 6, 2003, Associated Press, "9/11 Book Follows Hard-Hit Firm: Cantor Fitzgerald Lost 658 Workers In Terror Attack," by Bootie Cosgrove-Mather,
57 February 16, 2003, Scotland on Sunday, "When great works of art become casualties of war," by Gale Iain, Cached,
58 August 2, 2003, The Washington Times, "Works lost, not forgotten; 'Missing Masterpieces' tells stories of 24 of them," by Kevin Chaffee, Cached,
59 September 5, 2003, Cleveland Jewish News, "Haunting display details recovery at Ground Zero," by Marilyn H. Karfeld, Cached,
60 September 11, 2003, Asbury Park Press/ Knight Ridder/ Tribune, "New York Financial Firm Cantor Fitzgerald Rebuilds from Sept. 11, 2001, Loss," by Michael L. Diamond, Cached,
61 October 31, 2003, "Aanslagen Amerika 11 september: Foto's van het puin," Cache
62 January 27, 2004, AP Worldstream, "Traveling exhibit takes one man's love to the people," by Kurt Kelly, Associated Press Writer, Cached,
63 February 27, 2004, Wired Thread, "Lost World Trade Center Art,"
64 March 16, 2004, Buffalo News, "Rendezvous with Rodin: After Laying the Groundwork 15 Years Ago, a Curator Helps Turn 'A Magnificent Obsession' Into a Reality." by Tom Buckham, Cached,
65 January 29, 2006, Hartford Courant, "Rodin Chaser Has His Say, Critic Claims Works Cast After Death Are Not Originals," by Matthew Erikson,
66 August 24, 2006, Bloomberg, "Hirst Shark, Katrina Claims, Klimt: Axa Art Insurance's Guntram," Interview by Linda Sandler,
67 March 24, 2007, New York Times, "Landfill Has 9/11 Remains, Medical Examiner Wrote," by Anemona Hartocollis,
68 September 12, 2007, Associated Content, "Art and History Lost in the 9/11 Attacks," by Elliot Feldman,
69 February 24, 2008, garyarseneau.blogspot.com, "Rodin: In His Own Words FRAUD, the Iris & B. Gerald Cantor Foundation's touring road show of 29 non-disclosed FAKES,"
70 June 24, 2009, New York State Museum Press Release, "NYS Museum Announces Second World Trade Center Exhibit in France," by Joanne Guilmette,
71 April 25, 2010, Sunday Gazette-Mail , "A place open to beauty: Rodin sculpture trove anchors North Carolina Museum of Arts new building," by Andrea Weigl, Cached,
72 (No Date,) Recovery: The World Trade Center Recovery Operation at Fresh Kills, NY State Museum, S.U.N.Y. Education Department, File Format: PDF/Adobe Acrobat - Quick View
73 MOMA Collection of Rodins,
74 No Date, Wikipedia,Lost Artworks, Works destroyed in the September 11, 2001 attacks,
75 September 24, 2001, Knight Ridder/Tribune News Service, "Financial giant, decimated by tragedy, clings to life," by Maureen Fan,
76 September 3, 2001, Business Week, "eSpeed's Trading Secrets : Cannibalizing Cantor's bond trading has paid off, but growth is slowing," by Spencer E. Ante,
77 September 14, 2001, ABC Evening News, Connie Chung Interview Howard Lutnick,
'ABC Sept. 13, 2001 8:23 pm - 9:05 pm---ABC 7, Washington, D.C.'