Since 1952, the Stedelijk Museum has concerned itself only with modern art. The workshop for restoration of paintings was established in 1954, with two conservators. Before 1954, many paintings of the 19th and early 20th century were already relined, although, due to lack of proper documentation, the reasons and perpetrators are not always known. The case studies discussed include: George H. Breitner's <i>Nude</i> (1888), Marc Chagall's <i>Fiddler</i> (1912), Ernst Ludwig Kirchner's <i>Nude Girl Behind a Curtain</i> (1910), and Piet Mondrian's <i>Composition with Two Lines</i> (1931). In 1957, 29 paintings were relined, including all 27 paintings by Kazimir Malevich. A hot table was bought in 1959, but in the early 1960s it became evident that wax/resin was not the most ideal material for relining modern art. Treatments of <i>Ida at the window</i> (1924) and <i>Self Portrait with Seven Fingers</i>, both by Marc Chagall, are discussed. After 1978, hardly any relining has been done. <i>The Horde</i> by Max Ernst, Breitner's <i>On board</i>, Malevich's <i>Woodcutter</i>, and Van Gogh's <i>La Berceuse</i> (1889) were all treated since that time. Serious damage like the slashing of Barnett Newman's <i>Who's Afraid of Red, Yellow, and Blue</i> (1967-1968) are seldom, and in most of the cases a relining can be circumvented. The change in mentality at the Stedelijk Museum concerning the conservation of paintings is illustrated by the number of relinings: 29 in 1957, 17 in 1977, and none since 1980. The remaining question is whether old relinings which caused discoloration of the canvas or unpainted ground, and other damage, will have to be removed in the future.