The author discusses the problem of Albert Pinkham Ryder (1847-1917) forgeries and Ryder paintings that were changed or finished by other hands or by restorers. Some 1000 works have been attributed to Ryder, but of these, only about 100 extant examples appear to be genuine. <i>Macbeth and the Witches</i>, <i>The Tempest</i>, and <i>The Racetrack</i> are paintings which were worked on by Louise Fitzpatrick, Ryder's only pupil and longtime friend, or a restorer after Ryder's death. X-radiographs show differences in underlying compositions. Contemporary accounts also discuss the changes that have taken place in the compositions. Darkening and cracking which have taken place in the paintings since completion are also discussed briefly.