The care and conservation of contemporary works of art pose unprecedented problems for conservators. The period of art history from World War II to the present has been one in which experimentation with materials and techniques has been the rule rather than the exception. The artists' imaginations have dictated uses for relatively new materials derived from other industries. Untried applications of these materials and combining of media have resulted in works of art which are often ephemeral in nature and riddled with inherent problems for which there are no standards of treatment. In an effort to correctly solve these problems and retain often ambiguous artistic aims, conservators and curators seek guidance from living artists. When the artist's approach to restoration conflicts with the conventional philosophy of the conservator, the problems can be exacerbated. The Los Angeles County Museum of Art faced these issues recently during the treatment of Hatari by Los Angeles artist Billy Al Bengston. The treatment of this painting of unorthodox construction serves as a case study for some of the aesthetic, ethical, and technical questions which arise in the treatment of contemporary art.