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The conservation of modern and contemporary art as a distinct field took shape due to a new set of controversies. These concerned the varnishing and wax lining of paintings with matt surfaces and the wholesale repainting of damaged colour field paintings, thereby instigating a paradigm shift in the approach to the treatment of contemporary art in the last decades of the twentieth century. Since the second half of the twentieth century, divergent materials and techniques have found their way into the artist’s studio. The artist’s choices and application of non-traditional painting materials have been broadened by the social and historical connotations of selected materials combined with an articulation of the material’s iconography. If the artist is still alive, it is now a widely accepted approach for conservators to seek a dialogue with the artist in order not to neglect or negate the artist’s intentions when researching or treating the work of art.
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