Repair of large areas of loss and abrasion in the corduroy upholstery of a mid-century bowl chair designed by architect Lina Bo Bardi using custom dyed patches, by textile conservator Joel Stephenson.

Repair of large areas of loss and abrasion in the corduroy upholstery of a mid-century bowl chair designed by architect Lina Bo Bardi using custom dyed patches, by textile conservator Joel Stephenson.

Repair of large areas of loss and abrasion in the corduroy upholstery of a mid-century bowl chair designed by architect Lina Bo Bardi using custom dyed patches, by textile conservator Joel Stephenson.

Repair of large areas of loss and abrasion in the corduroy upholstery of a mid-century bowl chair designed by architect Lina Bo Bardi using custom dyed patches, by textile conservator Joel Stephenson.

Filling and inpainting of a reassembled Mexican ceramic jar, likely made in the 19th century in the style of traditional búcaros de Indias (highly-decorated water vessels prized for their fragrant clay bodies which subtly infused the water with a pleasing taste and aroma), by Meghan Abercrombie, Gale R. Guild and Henry R. Guild Fellow for Advanced Training. Q and A session from 3–3:30 pm.

Filling and inpainting of a reassembled Mexican ceramic jar, likely made in the 19th century in the style of traditional búcaros de Indias (highly-decorated water vessels prized for their fragrant clay bodies which subtly infused the water with a pleasing taste and aroma), by Meghan Abercrombie, Gale R. Guild and Henry R. Guild Fellow for Advanced Training. Q and A session from 3–3:30 pm.

Filling and inpainting of a reassembled Mexican ceramic jar, likely made in the 19th century in the style of traditional búcaros de Indias (highly-decorated water vessels prized for their fragrant clay bodies which subtly infused the water with a pleasing taste and aroma), by Meghan Abercrombie, Gale R. Guild and Henry R. Guild Fellow for Advanced Training. Q and A session from 3–3:30 pm.

Inpainting of an 18th-century Peruvian painting, Nuestra Señora de Belén (Our Lady of Bethlehem), now in the final phase of treatment after two years of extensive conservation to consolidate vulnerable paint layers, repair long tears in the canvas, and secure its long-term structural stability, by Alice Limb, Andrew W. Mellon Fellow for Advanced Training. Q and A session from 2:30–3 pm and 4–4:30 pm.

Inpainting of an 18th-century Peruvian painting, Nuestra Señora de Belén (Our Lady of Bethlehem), now in the final phase of treatment after two years of extensive conservation to consolidate vulnerable paint layers, repair long tears in the canvas, and secure its long-term structural stability, by Alice Limb, Andrew W. Mellon Fellow for Advanced Training. Q and A session from 2:30–3 pm and 4–4:30 pm.

Inpainting of an 18th-century Peruvian painting, Nuestra Señora de Belén (Our Lady of Bethlehem), now in the final phase of treatment after two years of extensive conservation to consolidate vulnerable paint layers, repair long tears in the canvas, and secure its long-term structural stability, by Alice Limb, Andrew W. Mellon Fellow for Advanced Training.