Contemporary drawings are now being displayed in forms traditionally reserved for paintings on canvas. Reasons for attaching paper to canvas include aesthetic and the need by curators and conservators to find alternatives to glazing. In addition, the choice of media and the use of three-dimensional objects dictate the method of mounting. Fabrics range from natural to synthetic nonwoven, the most popular choice being linen. Adhesives used by artists include wheat starch, methylcellulose, Jade 403, BEVA, Pextol (sic), acrylic gel medium. Formalin or thymol are often used as fungicides. The author states that artists do not understand the inherent physical characteristics of the materials chosen and their interaction with each other, nor how they react to atmospheric changes, moisture, solvents, etc. Common problems are surface deformation and uneven attachment with initial mounting and aqueous adhesives. Reversibility is of little concern to artists. The author stresses that conservation should acknowledge the aesthetic significance of the artist's original mount; she discusses collaboration between paper and painting conservators, and documentation of artists' materials.