The processes of conservation works of art are essentially those of partnership between curators and conservators. In their dialogues the cur-ator is responsible for the historical and aesthetic factors, while the con-servator selects the techniques to be employed in order to obtain the agreed objectives. The ability to communicate meaningfully is fun-damental to the success of the conservation dialogue, but the provision of the requisite training for curators has been seriously neglected. further-more the long-term success of any expansion of conservation services will depend in part on the development of adequate curatorial training. Author's address: City Museum and Art Gallery, B3 3 DH Birmingham, Great Britain.