The concept of “original” in conservation theory fake? The art of deception revisited

There are several blurry questions in contemporary Conservation Theory. Remarkable contributions from the past now seem insufficient and a stronger theoretical structure is required. Conservators and restorers rely blindly on concepts taken for granted; such is the example of “original” which is the basis of so many decisions and intervention methodologies. Do we really understand the meaning of “original” and why it is so important to our work? What consequences may derive from the misinterpretation of this concept? This paper proposes an approach to the term “original”, seeking answers in a historic analysis, revisiting a remarkable publication by the British Museum, Fake? The Art of Deception, a catalogue from a 1951 exhibition re-published in 1990. In opposition to “original”, we aim to analyze the relationship Man has had with fakes, forgeries and copies over time and how they can be helpful when defining “original”.