Since the beginning of the Enlightenment, since the beginning of the 18th century and the formation of museums, galleries and private collections, museums and galleries, it is necessary to purchase cultural monuments to fill its halls, and in the meantime, in cooperation with the specialists of the fields Different and mischievous, they began to make counterfeit works and present them. The most important question in this regard is the identification of the methods and techniques used by perpetrators in the creation of counterfeit works, the reasons for its increase in recent years, and the damage caused by such works in archaeological studies and museum activities. In this paper, while presenting a comprehensive definition of counterfeit works, its background in Iran, the typology of counterfeit objects, methods of forging and how they are presented to targeted groups. The library and field studies carried out in this study show that the use of historical cultural effects by using the science of the day and due to the lack of precise recognition of the target groups from such counterfeit works, to the construction and presentation of such works in three levels 1. The ordinary people who are great in gaining wealth. 2- Visitors interested in the collection of historical and cultural works inside the country; 3- Galleries and foreign museums.