negligence were made. After his release from hospital Dalí moved to the Torre Galatea, an annex to the Dalí Theatre-Museum. There have been allegations that Dalí was forced by his guardians to sign blank canvases that could later be used in forgeries. It is also alleged that he knowingly sold otherwise-blank lithograph paper which he had signed, possibly producing over 50,000 such sheets from 1965 until his death. As a result, art dealers tend to be wary of late graphic works attributed to Dalí. In July 1986, Dalí had a pacemaker implanted. On his return to his Theatre-Museum he made a brief public appearance, saying: In November 1988, Dalí entered hospital with heart failure. On 5 December 1988, he was visited by King Juan Carlos, who confessed that he had always been a serious devotee of Dalí. Dalí gave the king a drawing, Head of Europa, which would turn out to be Dalí's final drawing. On the morning of 23 January 1989, Dalí died of cardiac arrest at the age of 84. He is buried in the crypt below the stage of his Theatre-Museum in Figueres. The location is across the street from the church of Sant Pere, where he had his baptism, first communion, and funeral, and is only from the house where he was born. The Gala-Salvador Dalí Foundation currently serves as his official estate. The US copyright representative for the Gala-Salvador Dalí Foundation is the Artists Rights Society. Exhumation On 26 June 2017 it was announced that a judge in Madrid had ordered the exhumation of Dalí's body in order to obtain samples for a paternity suit. Joan Manuel Sevillano, manager of the Fundación Gala Salvador Dalí (The Gala-Salvador Dalí Foundation), denounced the exhumation as inappropriate. The exhumation took place on the evening of 20 July, and his DNA was extracted. On 6 September 2017 the Foundation stated that the tests carried out proved conclusively that Dalí and the claimant were not related. On 18 May 2020 a Spanish court dismissed an appeal from the claimant and ordered her to pay the costs of the exhumation. Symbolism From the late 1920s, Dalí progressively introduced many bizarre or incongruous images into his work which invite symbolic interpretation. While some of these images suggest a straightforward sexual or Freudian interpretation (Dalí read Freud in the 1920s) others (such as locusts, rotting donkeys, and sea urchins) are idiosyncratic and have