AS AN INTEGRAL PART OF the exhibition team, the registrar plays a major role when a museum hosts a traveling exhibition. The registrar must understand the ramifications of contracts negotiated with the organizing institution, insurance providers, and shippers in the course of hosting an exhibition to ensure that the terms of these contracts are carried out. In essence, the registrar’s role is to facilitate the safe shipping, handling, movement, tracking, storage, and display of the objects for the duration of the exhibition at the hosting museum. This role may extend to the care and tracking of non-collection objects, such as props, exhibition furniture, mounts, educational materials, and packing and crating materials. Through the reduction of risk, the registrar helps the museum meet its contractual obligations and ensures that the exhibition arrives at the next venue having received the best care possible.
The responsibilities assigned to the hosting registrar of a traveling exhibition vary greatly from museum to museum. In smaller museums, the registrar often assists with many of the exhibition team functions, including exhibition selection and scheduling, gallery design, collections care, preventive conservation, risk management, and gallery security. In larger museums, the role of a registrar on the exhibition team is usually more specialized. To work well with the team, it is essential that the registrar understand the team’s makeup and how internal responsibility for various aspects of each exhibition is delegated. In addition, every traveling exhibition is different, each shipment presents many challenges, and every traveling exhibition project is a learning experience. Ultimately, the registrars who are able to tackle these responsibilities most effectively are the ones who are organized, flexible, and unflappable.
Advance planning is critical to the success of a traveling exhibition. Exhibition meetings—attended by the registrar—are the best places to plan, discuss progress, present issues, and make group decisions. The kinds of questions raised during initial exhibition meetings, which the registrar must be prepared to discuss, usually relate to the logistics of getting exhibition materials to the facility by a specified time. Early on, the registrar may be asked to provide a facility report to the organizing institution and should be prepared to discuss its contents with the organizer, if questions arise.
As soon as they are available, the registrar should review the marketing materials and legal documents provided to the exhibition team by the organizer. Marketing materials may provide basic but useful information, such as the number and types of objects, gallery environment and security requirements, and venues. Catalogs with object illustrations may be available as part of the marketing package.
As one who is knowledgeable about the museum facility from a collections-care point of view, the registrar often assists with the review and negotiation of the exhibition contract (see the sample “Traveling Exhibit Contract” in the Collection Forms section). The registrar reads the contract carefully and should be prepared to call attention to any requirements that cannot be fulfilled by the hosting institution. Particular attention is paid to clauses describing requirements for environment, security, insurance, and borrower responsibilities for packing, shipping, couriering, conservation, and storage of ancillary materials. Because many parts of an exhibition contract often overlap with loan agreements, the registrar checks with the organizer to determine if the contract will serve as the loan agreement, or if a separate loan agreement will be negotiated. If there will be two separate documents, both should be reviewed and discussed internally by the team and then negotiated with the organizer.
As soon as they are available, the registrar reviews inventories of objects and other exhibition materials; the crate list and individual crate inventories; a condition report notebook with photographs, condition reports for each object, and conservation information; instructions for unpacking, handling, and installation; a full list of venues; shipping documents and copies of export and customs documents; and indemnity instructions (if applicable). These documents, which often arrive in the form of an exhibition manual, can help determine how the exhibition materials will be managed once they arrive at the museum. Crate dimensions and weights, for example, allow the registrar to determine points of entry into the museum, the number of staff required to unload and unpack the exhibition, the type of moving equipment needed, and the space required for staging and crate storage.
The registrar contributes information that helps the exhibition team formulate a project budget. Crate dimensions and weights, combined with the list of venues, may be used to obtain quotes from shippers for transporting the exhibition to or from the museum. The organizing institution may be able to provide general object inventories, packing instructions, and condition reports that may be used to create materials lists; supply catalogs then can be used to compile the estimates. Off-site storage space, couriering and customs costs, environmental monitoring devices, installation, and insurance costs may be required to fill out the budget.
Because planning a traveling exhibition requires that information be provided in advance of the exhibition itself, records received by the registrar are usually compiled into a working exhibition file. Appropriate documents then are added to an incoming loan file when the exhibition is received. Ideally, these records are marked with a loan number and stored in acid-free folders in a locking, fire-resistant file cabinet. The loan and exhibition files might include:
In addition, the file may include information about where related materials, such as condition report notebooks and crates, can be found. If incoming or outgoing changes to condition reports are noted, copies of the reports should be included in the loan file as permanent documentation. If loan records are maintained electronically, backup digital copies should also be created and hard copies generated for the loan file. The loan file should be set up so that other collections staff can coordinate the tracking and return of the exhibition in the registrar’s absence (see CHAPTER 4A, “Types of Records and Files”).
Prior to the release of the shipment by the organizer, additional documents are usually requested from the hosting museum. For example, copies of environmental monitoring records may be requested as proof that the museum can maintain a stable climate for the exhibition. If insurance is to be provided by the borrower, the lender may request that a certificate of insurance be issued by the insurer as proof of coverage for the duration of the exhibition. If the organizer provides insurance coverage, the registrar may request a certificate of insurance naming the hosting museum as an additional insured or a waiver of subrogation from the organizer (see CHAPTER 6D, “Insurance”).
It is important to become as familiar as possible with the lender’s intentions for shipping and installing the exhibition. The exhibition contract may stipulate which institution is financially responsible for inbound or outbound shipping, but it might not state who will be responsible for making shipping arrangements. Although the organizer usually takes on this responsibility, the registrar of the hosting institution should be prepared, if questions or problems arise, to communicate with the packer, shipper, customs broker, freight forwarder, or courier. The registrar informs both lender and shipper about any unusual characteristics pertaining to arrival at the loading dock. Specifically, the shipper should be made aware of the museum’s loading dock hours and any special equipment needs. The museum must be prepared to borrow, buy, or rent the equipment and arrange for any operators needed if they are not or cannot be provided by the shipper.
If the exhibition is to be accompanied by a courier or the organizer provides an installation team, the registrar must learn how responsibilities will be shared once the shipment arrives. Some organizers prefer to unpack, prepare condition reports, and install the exhibitions with minimal assistance; others expect the hosting institution to supply the human resources needed. Determining in advance if the courier will assist with unpacking and condition reporting, if the conservator will help with installation, and if the drivers will move crates into the facility (i.e., beyond the loading dock) allows the registrar to coordinate in-house resources more effectively.
As the hosting institution prepares to receive the exhibition, the registrar should maintain communication with the organizer’s registration staff and both institutions should agree on a receiving date that takes into account the shipper’s schedule, the hosting museum’s loading dock hours and workload, and personnel resources. The registrar works with the shipper to determine the approximate arrival time and often must be prepared to mobilize earlier or later than expected. Security personnel should be alerted to the impending arrival of the shipment. If security personnel monitor progress at the loading dock, it can be helpful to provide them with a copy of the crate list.
In further preparation for arrival, in-house travel routes are checked and cleared in advance (see CHAPTER 5B, “Object Handling”). The loading dock is cleared of unnecessary materials and equipment, vehicles, and unauthorized persons. Any required equipment must be on hand. The route should be free of onlookers to reduce distractions and minimize the risk of damage. If entryway dimensions are restrictive, the registrar should determine alternate routes in advance and test them with prototypes, if necessary. If special environmental requirements have been requested, condition the display cases before the objects arrive.
When the exhibition arrives, the registrar meets the shipper and communicates the route to the receiving and holding areas. As crates and other exhibition materials are brought into the building, the registrar uses the crate list to account for all materials. Although the shipper may conduct an inventory, it is important that the museum keep its own institutional records and confirm that the complete shipment has arrived. The waybill should not be signed until all materials have been accounted for and a visual inspection has verified that the containers have not been damaged in shipment.
Any missing or damaged containers are noted on the waybill, and photographs are taken to document any suspected damage. At this point, the registrar determines whether it is necessary to unpack damaged containers to document the extent of damage prior to signing the waybill. After the shipment has been secured, the registrar advises the organizing institution that the shipment has been received—together they determine if materials are missing. Alternative arrangements then can be made to locate the original or obtain replacement materials.
Incoming exhibition containers should be provided a rest period prior to unpacking to allow the containers and their contents to reach an equilibrium with their new environment (the standard acclimatization period is twenty-four hours). In some cases, the temperature and relative humidity of the receiving or holding area must be adjusted to meet the requirements in the organizer’s exhibition contract or loan agreement. Incoming materials should be stored in an area that meets the environmental requirements of the objects in the exhibition. If an exhibition manual, condition reports, or receipts were sent with the exhibition, the registrar determines the location of these objects and retrieves them first. The receipt then is signed, dated, and returned to the organizer to document receipt of the exhibition.
A secure staging area is furnished with clean, padded storage equipment (e.g., tables, pedestals, shelving, and cabinetry are ideal) in preparation for unpacking. If this work is to take place in the exhibition space, which is often the case for many smaller institutions, precautions should be made to ensure that only collections staff and designated members of the exhibitions team have access to the space. Additionally, any exhibition setup work should be kept to a minimum and primarily deal with hanging, mounting, or other preparation work to complete the installation of objects.
The order of unpacking may be governed by a variety of conditions, including size or fragility of objects, space, organization of the condition reports, and installation needs. In general, it is best to work with one crate at a time, so that crate inventories can be used as a checklist to confirm receipt of each object on the object list. This way, if the registrar must step away from the unpacking, the integrity of the inventory can be maintained. In addition, packing materials (if they are to be reserved) can be replaced in the crate and the crate re-secured for storage. It is helpful to take photographs of crates and inner packing boxes as they are opened and objects are removed. Because months often pass between the opening of an exhibition and its closing, photographs can serve as an excellent reference and resource for how the objects were originally packed and shipped.
Before individual objects are unpacked, the registrar reviews their condition reports and handling instructions to get a sense of how best to handle and examine each one. As the objects are unpacked, the registrar puts notations on the crate list regarding re-packing, checks that no parts of objects have been left in the packing materials, and notes whether any packing materials need to be replaced, or if existing silica gel needs to be reconditioned. With knowledge of how handling, shipping, and environmental conditions affect different types of materials, the registrar looks for evidence of changes, as well as condition information that may not have been recorded prior to shipping. By recording this information, the registrar protects the museum from claims for damage that occurred prior to receipt or during shipment.
Condition reports should be completed as soon as possible after receipt of the exhibition. If objects are placed into temporary storage for an extended period of time, the organizer may require a second review prior to installation. If the organizer does not require condition reports, it is best to produce in-house condition reports or a summary condition re port and send a copy to the organizer as a safeguard against a future claim.
Other exhibition materials such as props, furniture, mounts, graphics, and educational materials are not usually treated as collection objects and may be subject to different levels of storage, handling, and security. However, these materials are part of the loan and often are included in the total value of the exhibition for insurance purposes. Therefore, the registrar tracks the condition and location of these materials as well until the exhibition moves to the next venue.
The location of each collection object should be tracked individually until the exhibition is installed. Because the objects should be handled as little as possible, it is best if staging can occur in the gallery itself provided that storage-level security is provided. If not, objects may need to be relocated to a temporary holding or staging area or to the museum’s collection storage area until installation. If the storage area must be used for traveling exhibition storage, the registrar should be aware of several concerns—intellectual control must be maintained; exhibition objects must be tagged with loan numbers and segregated from the museum collection to avoid confusion with the permanent collection or misplacement of objects. In addition, there is concern regarding the potential of introducing undesirable activities and materials (such as wooden containers, organic packing materials, debris, and pests) into the storage area. To reduce these risks, the registrar checks each object thoroughly for pest activity, bags any suspect objects, isolates the objects from the permanent collection, stores the material near the storage entrance, if possible, to avoid extra activity in the storage area, and stores as much packing material as possible in an alternative location approved by the organizer.
If pest activity or active deterioration of an object is noted during unpacking and condition reporting, the registrar should contact the organizer as soon as possible. Permission may be granted to freeze infested objects or to use an in-house or contract conservator to stabilize the object. If a conservator or registrar travels with the exhibition, then the conservator will usually coordinate arrangements for treatment. However the process takes place, the registrar will receive copies of any treatment proposals, reports, and photographic documentation, and will ensure that the organizer also receives this documentation. In cases where an object cannot be stabilized for further exhibition and travel, the registrar may be asked to return it to the organizer. Keep in mind that removal or replacement of objects from a traveling exhibition affects many of the exhibition documents, including the loan agreement, certificate of insurance, object list, crate list, crate inventory, condition report notebook, and shipping way-bill, which then must be modified.
During installation, the registrar provides assistance to the exhibition team with object handling, movement, tracking, monitoring, and security procedures. Objects are protected during movement by pads, weighted bags, and wedges until they are installed. If professional art handlers or installers are part of the team, the registrar provides them with handling instructions. If customized interior boxes are provided by the organizers, objects are stored and moved in them until they are installed. During installation, objects are checked off the inventory, and their new locations are noted.
Before exhibition cases and vitrines are secured, the registrar checks again to be certain gallery climate and light levels meet the specifications provided in the contract. Environmental monitoring records provide information on temperature and humidity levels in the gallery, as well as inside the cases and pedestals themselves. This information can determine how adjustments may be made to the gallery’s heating, ventilation, and air-conditioning (HVAC) system or if buffering materials will be needed to meet the organizer’s climate requirements. Light meters and ultra-violet meters help to measure current light levels; this information will determine how to adjust the gallery lighting or relocate light-sensitive objects. As final adjustments to casework are made, the registrar also may provide temporary security or assistance to the installers. In some instances, the registrar provides inert material for padding folds, creating protective surfaces, and otherwise cushioning objects on display to protect them from structural stress.
Prior to opening the gallery, the registrar takes a moment to review the exhibition from a security perspective. Small, valuable, and easy to sell objects are particularly vulnerable to theft or vandalism. Any concerns the registrar may have are communicated to the team member coordinating gallery security so that they may be addressed before the public opening. The registrar should work with in-house security staff or contractors to ensure that cameras, sensors, local alarms, or other monitoring equipment is in place for objects that pose a high security or theft risk.
Once the exhibition has opened to the public, periodic inspections of the gallery are desirable and often are required by the exhibition contract. The registrar, who may be one of a number of staff keeping watch over gallery conditions, communicates with the design team and the organizer to provide solutions to any problems with educational materials or audio-visual equipment discovered during gallery inspections. If the registrar is responsible for the museum’s integrated pest management program, the gallery is monitored so that potential infestation can be discovered before damage occurs (see CHAPTER 6E, “Integrated Pest Management”).
If an object is damaged during the course of the exhibition, the registrar completes a condition report, photographs the damage, and works with the exhibition team to determine if the object should be removed from the gallery. A note indicating that the object has been removed from exhibition, by whom, and the removal date is left in its place, and the organizer is contacted for instructions on how to proceed. If an object is noticed to be missing from the gallery, the registrar notifies security to set internal risk-management procedures into motion. If the object is determined to have been removed without authorization and cannot be located, the organizer is notified immediately so that its procedures also may be set into motion. The registrar works with administrative staff and the organizer to provide information on the object’s value and determine whether an insurance claim will be filed.
Before the exhibition closes to the public, the registrar begins planning the outbound shipment. Together with the organizer, the shipper, and the contact at the next venue, a shipping date is identified, and the waybill and any necessary permits or documents are completed and forwarded. If the next shipment is to be exported, the organizer’s preferred customs broker assists the registrar with preparation of export declarations and customs documents (see CHAPTER 5P, “Import and Export: Guidelines for International Shipping”). If the organizer arranges the outbound shipping, a completed waybill is sent to the registrar, or blank waybills may be obtained in advance from the shipper.
Although most exhibitions are disassembled and repacked in the reverse of the order in which they were installed, some details may have changed during the course of the exhibition, especially if objects or other exhibition materials have been replaced. The registrar checks to make sure that all crating materials are sound, or have been repaired, prior to repacking. Silica gel or other buffering materials requiring conditioning are readied for packing. The organizer may request modifications to the crates, based on the information provided on the incoming condition reports. If new packing materials are required by the exhibition contract the registrar will obtain the materials and have them ready to use before the exhibition closes. After the gallery has been secured, the exhibition objects are inventoried, condition reports prepared, and objects are repacked as they were received. Props, furnishings, mounts, graphics, and educational materials must be accounted for and re-packed prior to shipment. During deinstallation non-essential personnel should not be allowed in the exhibition gallery or packing space and other exhibition work should be limited to that which facilitates the packing and crating of the objects.
Occasionally, a museum that hosts the last venue of an exhibition will be asked to take on the responsi bility of dispersing the exhibition objects for the organizer. Because dispersal can add complexity to the project, it is important for the exhibition team to consider the impact of the request on time, space, budget, and personnel. The exhibition contract, or a separate contract, should specify which institution will pay for shipping the objects back to original lenders, as well as crate construction or renovation costs. The contract should stipulate which organization will take possession of non-collection materials. The registrar should make sure that the organizer provides the information required to determine which objects are returned to which lenders.
When the entire exhibition has been accounted for, the crate lids are secured and (if security procedures require) the crates are inspected and sealed by security staff prior to loading. The registrar uses the venue list to determine the shipping address, telephone number, and contact for the next venue. This information is added to the waybill, and address labels are affixed to the containers. Each container must be accounted for by the registrar as the exhibition is being loaded by the shipper. The registrar must be attentive to the manner in which the exhibition is loaded and discuss any unusual circumstances with the shipper and the organizer before the shipment leaves the loading dock.
After the exhibition has left for its next destination, the registrar informs the organizer and the contact at the next venue that the shipment is on its way. Copies of condition reports prepared at the hosting institution are forwarded to the organizer, along with a release that is signed, dated, and returned to the hosting institution as documentation that the museum has released custody of the materials. After the next venue contacts the registrar to confirm that the exhibition has been received, the loan files are closed, and all loan and exhibition records are maintained as part of the permanent exhibition history of the hosting museum. •
Special thanks to Deborah Slaney.