The contemporary state of restoration theory is characterized by a traditionalized desire to create a lawmaking concept, turning a number of rules and methods into dogmas. The question of the authenticity of a work of art, understood as identity cannot be settled on the technological level alone, since authenticity is not just a physical category, i.e., the presence of matter, but also a relation, category of value, i.e., the presence of the meaning of a material structure. The recognition of authenticity takes place on the basis of a visual judgment which is mainly determined by the phenomenon of nonsplitting consciousness. A visual judgment in turn depends on the specific features of perception in which an important part is played by mechanisms of visual identification of information areas (or gestalts) and correlation of images (objects) under the effect of visual illusions (e.g., Piaget's effect). Psychological processes are aimed at regulating the object perceived. Putting a structure in order is the fundamental property of perception, visual judgement, thinking, and practice. Hence, restoration interference can be assessed as the means of putting in order the structure of a work (artistic, meaningful, and material) or, to be more precise, finding the order laid down in it.