I have a problem grasping the logic behind the answer.

A. The computer analysis involved is more likely to mistake an actual work as a forgery than to mistake a forgery as an actual work.
This actually strengthened the argument because the chance that computer analysis mistook real art as forgeries increased.
B. Many of the Flemish artist’s well-known portraits are in the collection of private owners and were therefore not subjected to computer analysis.
The private collectors' collections have nothing to do with mainstream museums' reputation.
C. Some of the works upon which the Flemish artist’s standing rests were identified by the computer analysis to be the work of de Hory.
Isn't this doubt already stated from the beginning and casted aside after the author reassured that only of them were forged, the rest are real Flemish arts>
D. Some museums, worrying that their most prized painting from the Flemish artist would be deemed forgeries, and thus lose value, only offered up the artist’s lesser known works for computer analysis.
This might be possible answer. If the museums have not submitted all of the paintings now for analysis but in the future, if they are found to be forged, the artist's reputation might be tarnished. I might be too ahead of myself here?
E. Though few in the art world dispute the outcome of the computer analysis of the Flemish artist’s work, many contend that the identified forgeries are not the work of Elmyr de Hory but some other highly skilled forger.
This doesn't change the fact that only few works by Flemish artist were analyzed to be forged, the rest of the arts is fine.

Art Historian: Recently, computer analysis has revealed that a few of a famous Flemish artist’s works are forgeries, and are actually the work of noted forger Elmyr de Hory.

Some Flemish' works are a fake, indeed.


While such a development may emit violent reverberations through the art world, even those museums that have a wealth of the Flemish artist’s work in their collections should not be overly concerned.

Even though this new technique could reveal that other works of the same author could be a face, the museums should not be worried



Hundreds of this Flemish artist’s works were tested to determine whether they were forgeries, yet only a slim few turned out to be actual forgeries.

Several works were tested out and a few emerged as fake , actually


Thus, the master’s reputation as one of the greatest artists humanity has ever produced will surely remain undiminished.

Flemish reputation is safe.

Which of the following, if true, casts the most doubt on the art historian’s conclusion?

A. The computer analysis involved is more likely to mistake an actual work as a forgery than to mistake a forgery as an actual work.

The computer analysis per se is irrelevant

B. Many of the Flemish artist’s well-known portraits are in the collection of private owners and were therefore not subjected to computer analysis.

The private owner is irrelevant

C. Some of the works upon which the Flemish artist’s standing rests were identified by the computer analysis to be the work of de Hory.

If this is true, we do know for sure that many more works by Flemish could be a fake and his fame is at risk. Correct

D. Some museums, worrying that their most prized painting from the Flemish artist would be deemed forgeries, and thus lose value, only offered up the artist’s lesser-known works for computer analysis.

The profit and loss of the museum is irrelevant

E. Though few in the art world dispute the outcome of the computer analysis of the Flemish artist’s work, many contend that the identified forgeries are not the work of Elmyr de Hory but some other highly skilled forger.

Other skilled forger is irrelevant

Hope this helps.

Regards

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