A 14th-century Hebrew manuscript is the subject of a lawsuit filed this week against the Israel Museum in Jerusalem. The institution has denied claims by heirs of a German-Jewish lawmaker that the museum has “illegal possession” of the religious book, which has been in its collection for nearly seventy years.

This is the first lawsuit against a museum in Israel to recover property lost in the Holocaust.

Four heirs of Ludwig Marum, a Jewish-German politician and public opponent of the Third Reich, brought forth the claim in a New York state court. In court documents reviewed by ARTnews, the attorney representing the heirs said the suit was filed in New York because the museum conducts business through the Manhattan nonprofit American Friends of the Israel Museum.

The medieval manuscript dubbed Bird’s Head Haggadah is believed to have been produced in southern Germany around the year 1300. It is known as the oldest surviving Ashkenazi Passover Haggadah, a volume containing ritual text that is used for religious observation. The lawsuit claims the book is worth an estimated $10 million.

Marum was killed in 1934 under official Nazi orders. Marum originally received the script as a wedding present, the suit says.

Famed artist Laurie Simmons and influential art market figure Amy Cappellazzo think that artists need to “pay attention to NFTs” and blockchain, and that the new phenomenon cannot be “brushed aside.”

Speaking at the spring luncheon for the American Friends of the Israel Museum at the Rainbow Room on Tuesday, Simmons and Cappellazzo engaged in a wide-ranging discussion that was mostly in a format Cappellazzo likened to Vogue’s ever-popular “73 Questions” interviews with celebrities.

After Simmons answered a series of rapid fire questions—What was your first thought today? Kittens or puppies?—Cappellazzo opened up to questions from the audience. The first was the one on every casual art watcher’s mind: “What do you think of NFTs?”

While Simmons and Cappellazzo were cagey at first, more or less saying they’re watching with interest but not ready to jump in the pool themselves, they both eventually signed on to the liberating potential of the blockchain, if not quite NFTs themselves.

“I’m more interested in NFTs as vehicles or mechanisms than actual end-art forms,” Cappellazzo said. “But I do think every artist these days needs to pay attention to NFTs because it’s the only way to track the work—on the blockchain—as it goes through the world. They’ll be able to get royalties, if they design it with that mechanism. It’s of incredible importance to artists.”