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This paper discusses the use of solvent-gel systems for the cleaning of poly (methyl methacrylate) (PMMA) surfaces. Aqueous polymer gel systems have been introduced to the conservation field with a particular focus on paintings, painted surfaces of wooden artefacts and stone. However, their application on plastics is very recent. Statistically designed experiments aimed to assess the efficiency and damage potential of materials constituting selected solvent-gel cleaning systems. The effect of the free solvents (deionized water, ethanol, isopropanol and petroleum ether), the hydrogel carriers (Agar, Pemulen™ TR-2, Carbopol® EZ 2-Ethomeen® C-25 and 80% hydrolysed PVAc-borax) and their combinations after 5 and 60 minutes of application time on PMMA surfaces, were evaluated through qualitative visual microscopic observation and SEM imaging, and quantitative weight change measurements. Visual observations revealed that the action of solvents (i.e. ethanol and isopropanol) was moderated by gellation (i.e. Agar), while other gel systems (i.e. Pemulen) were unsatisfactory. Results of gravimetric studies showed that most solvent-gels resulted in inconsistencies and large weight changes.

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Training and education paths in conservation science have been the subject of ongoing debate over the last two decades. A key issue is that conservation science, although not a new field, is not adequately defined, which leads to a lack of consensus regarding the competencies needed. During the ICCROM Forum 2013 on Conservation Science, education for conservation scientists was discussed, with a particular focus on those necessary competencies which exceed the scientific domain. This paper reflects on the outcomes of these discussions as well as the results of surveys carried out by ICCROM in preparation for the Forum on education, job advertisements, and the relationship between conservation professionals and science. Challenges identified included current professional paths, dissemination of scientific findings, use of specialized terminology, and the need for professionals who serve more than one area of specialization. These challenges could be viewed as an opportunity to revise and modify educational programmes. New interactive platforms could be used to facilitate participative science projects, and could change the way projects are carried out in the near future.

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In recent years Qatar has invested a significant sum of money on exhibitions of contemporary artists and public art. This paper discusses decision-making processes in the conservation of contemporary artworks installed in newly emerging art markets such as Qatar, where there are no established practices. In 2014, Richard Serra's East-West/West-East, an installation of four vertical plates made of weathering (Corten™) steel, which span one kilometre at heights so as to reach the level of the surrounding gypsum plateaus, was installed in the Brouq Nature Reserve near Zekreet desert, two kilometres from the sea in the western part of Qatar. The artwork is already considered by some a landmark for the isolated area. The plates have started to develop protective corrosion layers, although Corten™ is not completely corrosion resistant when located near coastal sites. They have also started to bend and are heavily inscribed by visitors. Conservation of public art is complex, as site-specific artworks are linked with the landscape and defined by the relationships they develop with the public. Art installations of this magnitude demand not only conservation measures but also a management plan. The isolated location, the scale of the artwork, the aggressive environment, and the lack of supervision and monitoring of the area challenge current practices but offer an opportunity to develop methods to preserve art of site-specific art in new environments and diverse audiences. Monitoring will allow a better understanding of the interactions of visitors with the artwork and will shed light on the material's behaviour in this specific environment.