In an article on the great Picasso retrospective at the Museum of Modern Art (The New York Review, July 17, 1980) I complained about the way restorers have unwittingly ruined the surfaces of Cubist paintings. Since these objections are apparently shared by others in the field, I would like to investigate the matter more fully in the hope that familiarity with the artists' expressed intentions will prevent restorers and their clients from committing further abuses, and not just of Cubist works.
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