
English: 
Bo Berkman, Lead Preparator: There’s not that many large works or sawhorses on four or five anyway….
Bo: Let’s bring most of this to the other tables and a couple of lights to follow me with.
Bo: Anny, how are you?
Anny Aviram, Senior Paintings Conservator: Good morning, how are you?
Bo: I’m really great.
Bo: There's no reason - in fact, let's just go this way.
Bo (Elvis voice): Thank you very much.

English: 
Henri Matisse. Dance (I). 1909
Henri Matisse. The Red Studio. 1911
Henri Matisse. The Piano Lesson. 1916
Andy Warhol. Double Elvis. 1963

English: 
Tarsila do Amaral. The Moon. 1928
Mark Rothko. No. 16 (Red, Brown, and Black). 1958
René Magritte. The Menaced Assassin. Brussels 1927
Jackson Pollock. One: Number 31, 1950. 1950
Constantin Brancusi. Mlle Pogany. Version I, 1913
Constantin Brancusi. Bird in Space. 1928

English: 
Bo: I can move a number of the larger
works, the Frankenthaler, the Kline, the Newman,
the two Pollocks, down to the fourth floor.
Bo: Do you want to dust them or do something first before they go down?
Anny: I need to vacuum the backs before you take them.
Bo: Of all of them? Okay.
Anny: That would be ideal.
Anny: You know, I can’t tell the difference, but I feel different.
Diana Hartman, David Booth Fellow in Paintings Conservation: Yeah.
Anny: Just because that handprint disappeared.

English: 
I’ve got the top.

English: 
Constantin Brancusi. The Cock. 1924
Constantin Brancusi. Blond Negress II. 1933
Constantin Brancusi. Socrates. 1922
Anicka Yi. Shameplex. 2015

English: 
Megan Randall, Assistant Conservator: It’s heavier than I was expecting.
Anny: You know, I think it's going to be very quick.
Anny: Watch your leg, Bo. Thank you.
Anny: Yuck!
Anny: Wow.

English: 
Tauba Auerbach. Altar/Engine. 2015
Josh Kline. Skittles. 2014
Faith Ringgold. American People Series #20: Die. 1967
Claude Monet. Water Lilies. 1914–26
Henri Matisse. Dance (I). 1909

English: 
Anny: This is just a holding spot.
It’s not going to be here.
The painting installed here.
Anny: Feels good that it’s clean.

English: 
Henri Matisse. Dance (I). 1909
Henri Matisse. Dance (I). 1909

English: 
It looks like three feet on each side, approximately.
John Driscoll, Artist: Yeah.
John: Yeah, that’s good.
Phil Edelstein, Artist: Yeah, there's the pole.
John: Yeah.
Phil Edelstein, Artist: Just, I think the shield, I said to drop a line here.
Shield and pot.
John: Yeah, that’s fine.
Phil: What time is it by the way, how are
we doing time-wise?
Martha Joseph, Assistant Curator, Media & Performance Art: It's 2:15.
Phil: 2:15!
We’re in really good shape.
Ana Janevski, Curator, Media & Performance Art: Rosalind, this is Phil, this is the other artist. Yes.
Rosalind Fox Solomon, Artist: Is he on your team?
Ana: No, he’s the artist, he’s one of the artists, so John and Phil are the two artists.
Phil: I’m the good-looking one.

English: 
David Tudor with Composers Inside Electronics, Inc. Rainforest V (variation 1). 1973/2015

English: 
Rosalind: That’s interesting.
Ana: Yeah.
Phil: The sound has shape.
Martha: Yes.
Phil: You’ll put your head in it and then it’s like, hold it, what’s the shape of
the sound-field around this thing.
Phil: I think that’s one of the really unexplored, unarticulated, you know
how do you listen to this thing?
Martha: Yes. Yeah.
Phil: What are you listening for?
Martha: Right.
Phil: So by the way, there's almost as much time, if we’ve been hanging for a day and a half,
the refinement is probably almost as much time.
Martha: A day and a half.
Ingrid Chou, Creative Director, Creative Team: So we’re changing, we’re changing the way
people navigate galleries, and I just want to make sure that there’s a good reason
why we shouldn’t be on the left, we should
 be on the right.
Ingrid: If we decide to put the sign on one side only -

English: 
Vincent van Gogh. The Starry Night. 1889

English: 
Olya Domoradova, Senior Graphic Designer: I like the idea of them being on two different sides.
Ingrid: You mean here and here?
Olya: Yeah, it's like -
Ingrid: But at the same, if you just look
at one side, you already know both directions.
David Klein, Senior Graphic Designer, Creative Team: It is actually easier to see it all on one side,
like, without it being that kind of…
Ingrid: Right.
Anny: Yes, hold it, we can hold it.
Anny: Diana’s getting the vacuum.
Anny: Yeah, Diana’s running over.
Bo: We’re going to nine.
Bo: I think we’re going to lay it down.
We’re going to lay it down like this.
Bo: Top, bottom.

English: 
Anny: I like Bo.
Diana: Hm?
Anny: I like Bo.
He gives very, very good instructions, always.
Bo: Okay, everyone just follow what everybody else is doing.
Alright, ready? One, two, three.
Anny: We went to the Musée Picasso in Paris, and the truck, the narrow streets in Paris didn't fit,
so they had to walk the painting.
Bo: No kidding!
Anny: It was crazy, yeah.
Dave: Wow.

English: 
Pablo Picasso. Les Demoiselles d'Avignon. 1907

English: 
Anny: That was the last time, we -
Bo: Do you remember when this was shown unframed, Anny? In the Elderfield show?
Anny: Yes.
Anny: Did you like it unframed?
Bo: I mean sure, it was amazing to see it that much looking just like a painting.
Dave: It’s your favorite painting, huh?
Anny: Um... I don’t know if it’s my favorite.
It’s one of my favorites.
Anny: It’s weird to see them together.
There’s five women on each.
I just counted them for the first time.
Anny: This is not supposed to happen, so it’s a good moment here.
Anny: Okay.

English: 
Pablo Picasso. Les Demoiselles d'Avignon. 1907
Henri Matisse. Dance (I). 1909

English: 
Vincent van Gogh. The Starry Night. 1889
Pablo Picasso. She-Goat. Vallauris, 1950
Barnett Newman. Broken Obelisk. 1963-69

English: 
Check that orientation!
