Director Don Argott's documentary about the controversial move of the Barnes art collection to downtown Philadelphia,The Art of the Steal, is so adamantly against the relocation that it feels as if the viewer is watching evidence presented in a murder trial. Ex-Barnes student Lenny Feinberg funded the film, openly intending it to be an argument against the relocation, in recent years, of the Barnes Foundation, which was established in 1922. Albert Barnes envisioned his foundation as an art school rather than a museum, and he wrote a detailed will to dictate the future of his highly desirable collection (valued at $25 billion) of impressionist and postimpressionist works by artists like Picasso, Renoir, Matisse, van Gogh, Cezanne, and others. The film focuses on interviews given by people on both sides: advocates and art advisers, critics such as Christopher Knight, professors such as Dr. Robert Zaller, and those under fire, like Richard Glanson, ex-Barnes president who planned dubious legislation in the 1990s to move the art from its rural location. Copious research into what some call a crime shows, and one almost gets too clear a picture of, how a private art collection can be usurped through government. Yet the film's didacticism is also its weakness. Typewriters in the credits amid slips of torn paper with typewritten notes, black backdrops with title headings for each chapter that melodramatically read "The Last Living Apostle" or "The Takeover," offer little in the way of interpretative opinion. Midway through this well-played, strategic film there appears a bulletin board of "key players," those politicians and socialites who enabled Albert Barnes's art collection to move against Barnes's will. Even Philadelphia mayor John F. Scott, who holds a press conference to announce that the collection will be relocated to the city, comes out looking fiendish because some art was moved to a new location. While art-world viewers may find the story inThe Art of the Stealas offensive as Argott obviously does, some viewers may be left wondering Who cares?  --Trinie Dalton