The paper report a series of tests related to art transportation problems undertaken on a collaborative basis by the National Gallery of Art, London, the Tate Gallery, and Art Networks, Houston. The tests were designed to simulate the various human and mechanical accidents which may occur to painting during transport. Four different packing cases used by the different institutions were tested. Lack of consistency in testing procedures used at each location are admitted. The general procedure was to place accelerometers on painting frames as the cases were dropped, toppled, and vibrated. Results showed the Art Networks packing case minimized maximum force of impact over a range of tests. Recommendations for constructing cases to minimize shock magnification are provided. Results of vibration tests also appear to demonstrate the superiority of the Art Networks packing. Canvas vibration is greater than frame vibration, but canvases are difficult to compare. However, some discussion of how to damp canvas vibration is provided. The paper concludes with a call for further testing and for development of methods to determine the fragility factory of works so that the long term effect of shock and vibration can be understood.