In the 1930s, Han van Meegeren sold a fake Vermeer to a Nazi war criminal—and when he confessed, the art world's biggest authorities had to admit they'd been fooled for years. But here's the uncomfortable part: the forgeries weren't just good, they were occasionally *better* than the originals, which raises a question the establishment still doesn't want to answer. What actually makes a painting valuable—the brushstroke, or the name attached to it?