 far as a bush. Well, as no two paintings are alike, no two conservation processes are the same. The way I work is by first examining the painting and trying to understand all of the issues. It's really high stakes because there's no margin of error. If the color is not quite right or the texture is in a match, then the viewer will see it. And all of the hard work that's gone into the restoration thus far will be betrayed by the bad retouching. Conservation at its heart really is problem-solving. You may have to invent a technique or employ a new material to solve the issue. And when everything gels and you hit the target, it's really exciting.