The Fine Art of Lying

Alexandra Andrews

The Fine Art of Lying

Alexandra Andrews
60 pages2-hour read
Fiction
Novel
Adult
Published in 2026

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Chapters 11-22Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of graphic violence, death, sexual content, and emotional abuse.

Chapter 11 Summary

Clare and Jed attend a 74th birthday party for Jed’s mother, Dorothy, at the Fifth Avenue apartment where she lives with Jed’s father, Abe. The family’s longtime housekeeper, Mimi, greets Jed warmly but is cold and formal toward Clare, nodding at her formally and refusing to call her by her first name. Clare recalls a past incident when Dorothy dismissively told her to “snap out of” her “baby blues” (92). Jed’s sister Lauren and her husband, Grant, soon arrive and give Dorothy an expensive Hermès scarf, which makes Clare’s more modest gift seem inadequate. During the tense dinner, Abe reveals that Jed was passed over for partner at his law firm, a fact Jed had hidden from Clare.


Later, Clare confronts Jed, who admits he lied because he was humiliated. Dorothy then pulls Clare aside for a private conversation, revealing that Lauren saw her with an art dealer and she knows about the affair. Dorothy threatens to use her influence with a family court judge to ensure Clare loses custody of Sadie if she does not end the relationship immediately, citing Clare’s late school pickups—corroborated by Mrs. Dwyer—and Clare’s “baby blues” as evidence the affair has adversely affected Sadie. Back at their apartment, feeling defiant and unwilling to be controlled by her mother-in-law, Clare texts Gabriel to arrange a meeting.

Chapter 12 Summary

When Clare arrives at Gabriel’s house, the mood between them is uncharacteristically awkward. Before Clare can speak, Gabriel tells her he thinks they should end their affair. He explains that he is worried someone will get hurt and that she has more to lose because she has a family. Although Clare had been considering ending the relationship herself, she is hurt by his preemption. She agrees to the breakup and leaves his house holding back tears.

Chapter 13 Summary

Two weeks after the breakup, Clare finds Jed looking at photos of Sadie on her phone. She feels nervous, but he hasn’t found anything incriminating. Feeling restless and disconnected from her old life, Clare meets two friends from graduate school, Cassandra and Lev, for drinks. During their conversation, Lev mentions that Gabriel’s gallery, Prévost-Kline, is hosting a party nearby that evening. Emboldened by two martinis and a sense of recklessness, Clare agrees to go with them.

Chapter 14 Summary

At the crowded gallery party, Clare spots Gabriel. The attraction between them is immediate, and he pushes through the crowd to greet her. He holds her close and asks her to leave with him. Clare tells her friends she is tired and meets Gabriel outside. They go to his nearby house and head straight to his bedroom, where the Blake Webley painting Longfin is hanging. As they begin to undress, they hear a thud from downstairs. Gabriel grabs a heavy Jean Arp bronze statue and goes to investigate.


After hearing a scuffle, Clare hides under the bed. A person wearing black Reebok sneakers enters the room; Clare knows it isn’t Gabriel, who was barefoot. After a soft scraping sound from the wall, the intruder leaves. When she emerges from hiding, she discovers that Longfin has been stolen.


Downstairs, Clare finds Gabriel’s body at the foot of the stairs; he is dead and covered in blood. She takes out her phone to call 911 but stops when she sees a photo of her daughter, Sadie, realizing an investigation will expose her affair and allow Dorothy to take her child. She wipes down any surfaces she touched and flees the house. She initially plans to find a pay phone to call anonymously but abandons even that plan as she rides uptown in a taxi, fully deciding to say nothing.

Chapter 15 Summary

Clare returns to her apartment and goes straight to the bathroom, sitting on the closed toilet lid. Her husband, Jed, wakes briefly, and she lies about the time. Unable to sleep, she is haunted by the image of Gabriel’s body. She stays awake for hours until her grief gives way to tears. The next morning, Jed comments that she looks hungover. She maintains her lie, telling him she was home by 11 o’clock the previous night.

Chapter 16 Summary

For the next day, Clare is consumed by panic and grief. As time passes without any news, she begins to wonder if she imagined the entire event. On Saturday morning, her reality is brutally confirmed when Jed reads a news article on his phone announcing that art dealer Gabriel’s death. Clare feigns shock and downplays her relationship with Gabriel, telling Jed they were merely professional colleagues. To establish an alibi, she mentions that she, Lev, and Cassandra briefly saw Gabriel at his gallery party on the night of the murder.

Chapter 17 Summary

On Sunday, two NYPD detectives, Pam Breznick and Greg Nguyen, arrive at the apartment to question Clare about Gabriel’s death. Jed insists on being present during the interview and adopts a confrontational, lawyerly demeanor, instructing Clare not to answer detailed questions. When Clare mentions seeing Gabriel at the party on the night he died, Jed tries to silence her. He abruptly ends the interview, prompting Detective Breznick to ask what they’re hiding. After the police leave, Clare questions Jed’s aggressive tactics, but he insists he was just protecting them from unnecessary involvement.

Chapter 18 Summary

The next day, Detectives Breznick and Nguyen intercept Clare after she drops Sadie at school. Breznick reveals they know about her affair with Gabriel and threatens to inform Jed unless she cooperates. Clare agrees to speak with them at a nearby diner. She resolves to admit to the affair but to maintain her alibi that she went straight home from the gallery party. 


Clare tells the detectives that Gabriel ended their relationship two weeks before his death. Breznick informs Clare that the murder does not appear to be a random robbery, as the killer used the correct door code and left valuables behind. The detective also notes that several witnesses saw Gabriel leave his own party early and asks whether Clare could be the reason. Breznick ends the interview by telling Clare that, as the married lover, she is a prime suspect and desperately needs to provide them with an alternative theory.

Chapter 19 Summary

Reeling from the detectives’ accusation, Clare walks through the park. She calls her best friend, Maggie, and begins to confess to the affair, but in the middle of the call she has a flash of memory and realizes the killer stole the painting, Longfin. She abruptly hangs up on Maggie before disclosing that she was present at the murder scene. Clare understands that the theft provides the “other storyline” the police are looking for—a robbery gone wrong. However, she also realizes she cannot tell them. As a Blake Webley scholar writing her dissertation on Longfin, her knowledge of the theft would only make her look more guilty by proving she was there. Concluding that she is the only person who knows the painting is the key, Clare decides she must investigate the murder herself and starts by trying to identify the painting’s anonymous buyer.

Chapter 20 Summary

Clare begins her investigation by calling Gabriel’s business partner, Michael Kline. Using her maiden name, Clare Regan, she poses as an art historian whom Gabriel had promised a viewing of Longfin. Kline is surprised the painting was still at Gabriel’s house and explains it was a private sale handled through Gabriel’s separate consulting business, so he has no information on the buyer. As the executor of Gabriel’s estate, he promises to look into it once the police release the crime scene. Clare then calls her friend Maggie back, explaining Dorothy’s blackmail threat and why she cannot tell Jed about the affair. She dismisses Maggie’s concerns and her offer to fly to New York for support, insisting she has a plan to handle the situation.

Chapter 21 Summary

Clare attends Gabriel’s memorial service with Jed, who had insisted on coming despite her reluctance. The service is held at an arts center in Red Hook and is attended by many figures from the art world. Clare speaks with Tasha Wolfe, who confirms that the curator Clement Rosier initiated the deaccessioning of Longfin. Tasha suggests the museum needed the funds and that Clement likely already knew his friend Gabriel had a buyer lined up. Tasha and Clement both claim not to know the buyer’s identity.


Clare then approaches Gabriel’s ex-wife, Beatriz Barros, in the bathroom. Beatriz reveals that Gabriel had told her everything about his affair with Clare and that she was the one who gave Clare’s first name to the police. However, she denies any knowledge of the Longfin sale. Clare finds this suspicious, as it contradicts Beatriz’s claim that Gabriel told her everything. Clare spots the detectives, Breznick and Nguyen, at the service and avoids them before leaving with Jed.

Chapter 22 Summary

The following day, Clare calls her friends Lev and Cassandra to ask about any art-world gossip surrounding Gabriel’s death, but they only have wild, unsubstantiated theories. Later, while Clare is at a playground with Sadie, she is approached by a tall, elegantly dressed woman she doesn’t recognize. The woman sits next to her on the bench and tells Clare she came to the playground specifically to see her.

Chapters 11-22 Analysis

Dorothy Bast’s private conversation with Clare during her birthday party establishes the high-stakes personal threat that underpins the plot. When Dorothy threatens to use her judicial connections and Clare’s past struggles with postpartum depression to strip her of custody, she weaponizes the most intimate details of Clare’s life. Dorothy’s condescending reference to Clare’s “baby blues” and her ultimate demand to “end the affair. Immediately” (96) depict maternal identity as something constantly evaluated and judged by others rather than experienced privately. This encounter underscores the theme of Motherhood Triggers a Crisis of Identity, demonstrating how Clare’s role as a mother becomes a source of vulnerability. Dorothy’s accusation that the affair has “adversely affected the child” (96) directly shapes Clare’s response after Gabriel’s murder. The sight of Sadie’s photo on her phone makes the abstract danger of losing her daughter into an immediate reality, as Clare’s decision to flee the crime scene becomes an act of desperate preservation for herself and her family.


Gabriel’s murder fundamentally changes Clare’s relationship with Longfin. What had previously represented an artistic awakening now becomes the thread connecting nearly every unanswered question surrounding the crime. Clare alone realizes the painting was stolen, allowing her to recognize a possible motive long before the police do. As she investigates the painting’s disappearance, the novel further develops the theme of Commodification Corrupts Fine Art. Conversations with Tasha and other figures in the art world reveal how casually museums, collectors, and dealers accept secretive transactions that prioritize financial value over public stewardship. Tasha’s dismissal of Clare’s concern that the museum has become like “Bloomingdale’s,” joking that it is “Bergdorf’s at the very least, I hope” (146), reflects an environment where commercial thinking has become normalized. Rather than existing solely as an object of aesthetic appreciation, Longfin has become entangled in private negotiations, institutional compromise, and ultimately murder.


The murder ultimately changes Clare from a largely reactive protagonist into an active investigator. Specifically, the appearance of the intruder in “black Reeboks” repeatedly permeates Clare’s thoughts, shattering the romanticized isolation of her affair. The nondescript, utilitarian footwear symbolizes the intrusion of a brutal, impersonal violence into the intimate space of Gabriel’s home, a sanctuary where he and Clare had existed outside their normal lives. After the detectives identify her as a prime suspect, Clare recognizes that passivity is no longer an option. Her memory of the sneakers and the missing painting convinces her that the official investigation is overlooking a crucial piece of the puzzle. Unable to reveal everything she knows without incriminating herself, she begins conducting her own inquiry into Gabriel’s final days. This shift alters the novel’s focus from a psychological domestic fiction to an investigative thriller driven by Clare’s increasingly risky pursuit of answers. Clare’s decision to investigate the murder herself is a desperate act of survival, a pragmatic effort to reclaim agency in a world where she has become dangerously exposed.


Central to Clare’s investigation is the malleability of truth, an idea that is central to the Bast family that she has become a part of. When Abe blurts out that Jed was passed over for partner, he reveals that Clare’s husband is also hiding a professional humiliation. Jed’s confession—“it’s embarrassing, Clare” (94)—re-contextualizes his character, showing that his veneer of stability is maintained through his own deceptions. This revelation occurs just before Dorothy confronts Clare, structurally highlighting the family’s double standards. Dorothy’s manipulative conversation style, which Clare compares to trying to “salsa dance on a floor slicked with Vaseline” (95), and her ironic question, “who’s really lying to whom in your relationship?” (96), position truth as a weapon rather than a virtue. This culture of concealment dictates Clare’s subsequent actions. She lies to Jed about the time she came home from the party and fabricates a professional relationship with Gabriel for the police, adopting the titular “fine art of lying” that defines her husband’s family.


Jed’s confrontational behavior during the initial police interview reveals a new dimension to his character and illustrates how Wealth Shields Criminality. By immediately adopting an obstructive, lawyerly stance and ordering Clare not to answer questions, Jed treats the detectives as adversaries to be managed. His assertion that “everyone needs a lawyer” (119) and his dismissal of the detective’s tactics as a “trick” reflect a worldview shaped by privilege, in which legal maneuvering is the default response to authority. The text notes Clare’s surprise, observing she had “never seen this side of him before: cocky and imposing” (120). This defensive posture is a learned behavior, echoing Dorothy’s boast that the Basts possess “a keen understanding of the law,” (96) which they use as an instrument of power. Ultimately, his family suggests that wealth provides both material security and confidence in one’s ability to influence institutions designed to ensure accountability—an attitude that Clare herself increasingly adapts.

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