Art? Science? History? What is Art Conservation?

Art? Science? History? What is art conservation, and what does it entail? Do you think of cotton swabs carefully removing yellowed varnish from a Renaissance masterpiece, or someone in a white coat and gloves using the tiniest paintbrush under a colossal magnifying glass to touch up a scratched surface? That’s actually not all there is to art conservation. In addition to painting conservation, there’s also paper conservation, photograph conservation, textile conservation, and a specialization for nearly every material and medium under the sun. Although certainly a more behind-the-scenes field than museum curation or administration, art conservation is nevertheless essential in turning the wheels of the art world and preserving the vessels of our culture and history. 

In an interview with The Spectator, Sara Levin, Stuyvesant alumna and an objects conservator specializing in the indigenous works of Africa and Oceania at the Metropolitan Museum of Art, lets us in on her experience in the field. Interested in the fine arts from a young age, Levin took art classes throughout high school but didn’t consider art conservation as a career until after graduate school. When asked if Stuyvesant had an influence on her career choice, she explained that her time at the school gave her the confidence she needed in STEM: “Stuyvesant gave me the confidence to face chemistry—which isn’t my forte. Math and chemistry weren’t my fortes even though I went to Stuyvesant… and I did struggle in those classes at Stuy. But I thought that if I really, really tried, it wouldn’t be impossible.”

Pursuing a career in art conservation involves the study of chemistry (to understand how different chemicals react to each element of an artwork), art history (to understand the context of the artwork and help maintain its original artistic and historical integrity), and fine arts. A background in making art can be especially advantageous to a conservator, providing them with the foundational ability to analyze the technical elements of a piece and understand how it was made, in addition to the manual dexterity and artistic skill required to make repairs as seamless as possible. 

After graduating from college, Levin briefly considered a career in archaeology while participating in an archaeological dig in Israel. However, she had a change of heart that led her to conservation: “I discovered I didn’t want to be an archaeologist because I wasn’t cut out for spending all my time in the trenches… but there was a conservator on that dig, and she got to work on all the finds, which I thought was really, really cool.” Levin also explained that students can look up archaeological sites to volunteer at in the U.S. if they’re interested in art history or archaeology, though most are outside of large cities like New York. Speaking about her foundation as a conservator, Levin emphasized her love for artmaking, historical artifacts, and her internship at the Brooklyn Museum conservation studio.

Because the Met prioritizes the long-term integrity of its collection, conservators follow rigorous professional standards informed by both institutional practices and the ongoing conversation on conservation ethics. The debate over the degree to which conservators should interfere with the natural aging process of materials is central because treatments often focus on preserving the artist’s original intent. Levin explains that the stability of the object is always the first consideration—can a piece stand on its own? Would it fall apart if it were exposed to any slight vibration?  Conservators at the Metropolitan Museum don’t necessarily aim to make a piece look brand new because its material history, visible signs of wear, and even some historic restorations are considered essential to an object’s authenticity. Instead, conservators aim to make their repairs minimally invasive and as reversible as possible to ensure that any changes to a piece can be undone without damaging the object, acting as a safeguard against human error. Levin emphasized that each piece is unique and requires individualized attention. 

When asked what a typical day for a Metropolitan Museum objects conservator looks like, Levin explained, “Well, it does vary. Documentation is a major part of the job… when exhibitions go up, we act as representatives of the museum to inspect works of art when they come into and leave the museum.” One of the most important pieces of modern technology used by conservators is photography. In an exciting advancement in the field, conservators often photograph works of art under various wavelengths of light (e.g. ultraviolet and infrared) to document different aspects of an object that may be invisible to the naked eye. As another safeguard, conservators photograph pieces before and after repairs to monitor their condition at all times. When it comes to tools and technology, conservators at the Metropolitan Museum typically rely on specialized conservation tools while also sometimes using their own makeshift instruments like dental equipment if a project requires more precision. 

Levin’s love for close looking complements her desire to learn new artistic techniques from the objects she works on every day. “I really just love studying pieces and looking closely at them. Looking at pieces under the microscope is one of my favorite things to do. So anything I get to spend time just looking at is my favorite part of the job,” Levin said. Fundamentally, art conservators are also zealous art enthusiasts who are genuinely enlivened by their ability to interact with and study art within such close proximity. Levin expressed particular enthusiasm for ceramics, tracing her love for them back to her time on archaeological sites. For her, the durability and global diversity of ceramic technology across cultures is, as she put it, “music to me.”

As an objects conservator for the African and Oceanic Art Department, Levin has also worked extensively on the Michael C. Rockefeller Wing that opened in May 2025. “It’s been a long road,” Levin said. Deinstallation of the Met’s African and Oceanic Art Wing began in 2021. After a four year, $70 million renovation, the new galleries have now been modernized and reorganized with improved natural lighting. The general public usually doesn’t understand just how much conservators also do behind the scenes to make sure pieces are safe from damage while on display, from using silica gel to keep the environment at a certain relative humidity, to using carbon cloths for trapping pollutants and preventing metals from tarnishing. Levin described the exhaustive process behind the galleries’ renovations: every uninstalled piece was examined, photographed, and discussed with curators to determine “what level of intervention is appropriate or needed,” Levin said. Conservators also collaborated closely with mount makers, as many pieces have multiple parts that are difficult to support. For the new wing, conservators partnered with the department of Scientific Research as well, to learn more about the material properties of several works. From learning more about pigments to sampling pieces for carbon-14 dating, Levin enjoyed doing deep dives on several pieces. 

For students seeking to pursue conservation, Levin recommends getting as much experience as possible, as soon as possible. Being an art conservator requires a lot of patience and attention to detail, so it certainly isn’t for everyone. But if you’ve finished reading this article and feel that conservation is calling your name, there are plenty of opportunities for internships and even more specializations to discover!