The author discusses initiating conservation procedures to prevent further deterioration of museum objects and the stability and reversibility of new materials. The National Gallery of Art Research Project at the Mellon Institute of Research, Carnegie-Mellon University, is described. The distortion and damage to original creative surface by non-stable varnishes is pointed out. The writer recommends Acryloid B-72 and B-67 varnishes, commercially produced by the Rohm and Haas Company, tested to be nonyellowing, nondarkening and nonhardening. -- AATA