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Cited by

• 2012Fibre Optic Reflectance Spectroscopy as a non-invasive tool for investigating plastics degradation in contemporary art collections: A methodological study on an expanded polystyrene artwork27 cited
• 2008The Ontological Diversity of Visual Artworks25 cited
• 2007Museums and the Constitution of Culture9 cited
• 2017In Advance of the Broken Theory: Philosophy and Contemporary Art8 cited
• 2016The role of conservation in new contemporary art installations in new contexts: The case of Richard Serra's East–West/West–East in Qatar7 cited
• 2021Variants of Concern: Authenticity, Conservation, and the Type-Token Distinction7 cited
• 2023The Enfolding Object of Conservation: Artwork Identity, Authenticity, and Documentation5 cited
• 2018Drawings you can walk on – Mike Parr and the 20th Biennale of Sydney 20165 cited
• 2012Museums and Philosophy – Of Art, and Many Other Things Part II5 cited
• 2001Evolving Exemplary Pluralism: Steve Mcqueen's Deadpan and Eija-Liisa Ahtila'sAnne, Aki and God—Two Case Studies for Conserving Technology-Based Installation Art4 cited
• 2008Impermanence and Entropy: Collaborative Efforts Installing Contemporary Art4 cited
• 2010Omens from the Mediterranean: Conservation Nostrums in Mare Nostrum3 cited
• 2020Physical object or variable, flexible, ephemeral and reproducible: the management and care of contemporary art collections in 2020