“Outside of art history circles, [Walter Schott’s] Drei tanzende Mädchen isn’t even particularly well known. But inside them, and especially among restitution experts, the sculpture represents a superlative example of the time, energy, money, doggedness and old-fashioned expertise required to track down a missing piece of art. And it stands as a heart-wrenching test of the limits of legal solutions to crimes in which the burden of restitution isn’t always clear.”