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The artist speaks of living in 1970s Amsterdam, where she visited a Rembrandt painting at the city’s Rijksmuseum at least weekly.

The novel is peopled by artists, art dealers, critics, patrons of art, forgers, and curators. For this novel, there were three essential \"informants\": Stephen Gritt, the head of restoration at the National Gallery of Canada; Frima Fox Hofrichter, an art historian who specializes in Judith Leyster and women painters of the seventeenth century; and Ken Perenyi, a master forger who wrote a fascinating memoir called Caveat Emptor. [...]I think the opposite-that Australians understand they are playing on the world stage, and often at the top tier, across all the artistic fields. [...]the moral forgery at the center of the book is much more interesting to me dramatically, as a fiction writer-and it's also the bigger moral failure, in my view.