38 No. 68 JUSTICE grey areas. In addition, an administrative body will need to be designated to regulate the validity of restitutions and the criteria applied. In the meantime, it is essential to establish a formal comprehensive settlement procedure with a clear transparent process that will allow families to know to whom they must address their claims, as well as know the timeline for processing their files. Conclusion The New Law demonstrates France’s commitment to restituting art looted during the Second World War. However, this is most certainly only a first step. It seems that the French government is pleading for the implementation of a framework law that covers both WWII and spoliations that occurred in the French former overseas colonies. Such a framework law would raise numerous practical and legal issues: Who would be eligible to claim looted artwork? Which circumstances would allow restitution? Which time-period would be considered? Would spoliations made outside France be covered? What recourse would be offered to good faith purchasers and how can they defend themselves? Should auction houses be held liable? Who would control the restitutions? There are several working groups currently analyzing these questions, but the road ahead remains long and complicated, and will most likely give rise to further arguments. n Mélina Wolman is a qualified lawyer at the Paris Bar. She specializes in recovery of looted works of art and has been practicing for more than ten years in an international law firm. Adv. Wolman contributed this article in liaison with the French Committee of the Association Internationale des Avocats et Juristes Juifs (AIJJ), which is a member association of the IJL. She would like to thank MatthieuQuerry for his help in the preparation of this article.