One of the questions we hear most often from visitors to the Lunder Conservation Center is "where are the conservators?"

As often as art conservators do a standard treatment on a work of art in our collection, there is always an opportunity to learn a new approach to solving a challenging task. In the case of Gene Davis: Hot Beat (closing April 2, 2017), paintings conservator Amber Kerr coordinated with staff members from our design and registrar teams to manage the conservation treatments for several extremely large canvas paintings. Each had been rolled in storage for years.

Objects conservators have a challenging job. On any given day Ariel O'Connor, an art object conservator at SAAM, might be asked to research, examine, document, and treat works of art made with bronze, wood, plastic, stone, plaster, glass, and many, many other types of materials. The recently-opened Isamu Noguchi exhibition Isamu Noguchi, Archaic/Modern perfectly exemplifies this material diversity, with sculptures ranging from heavy stone obelisks to feather-light delicate bamboo and paper lanterns. Even with years of training and experience, one sculpture is proving to be a unique challenge for Ariel: a 3,000 pound basalt stone fountain titled The Well.

Romaine Brooks was something of an interior decorator as well as an artist. She took a lively interest in the frame designs and finishes for her artworks. Several of the paintings in the exhibition The Art of Romaine Brooks are in frames that she personally designed or that were prepared under her direction.

For a decade, Duane Hanson's life-like sculpture Woman Eating has fascinated SAAM visitors. With funding provided by the Smithsonian's Women's Committee, conservators were able to research, examine, document, and treat this work for future generations to continue to enjoy.