
English: 
Richard Serra. Equal. 2015

English: 
Megan Randall, Assistant Conservator: It looks good? Like could they use a dusting, ‘cause now is the time.
Bo Berkman, Lead Preparator: It looks kinda dirty, 
but I can’t tell if it’s like, actually like-
Megan: The piece?
Bo: …a part of the piece, or blowing around
on the surface.
Megan: Okay.
Lana Hum, Director of Exhibition Design and Production: Alright, Mark, so tell me where we are.
Marc Losquadro (whispers): I can’t even lie now, huh?
Lana: No you can’t, you have to tell me the truth, ‘cause we’re gonna catch you on film!
Marc: On film!

English: 
Lana: So I’m gonna hold you to this.
Marc: So this, we'll take care of tonight, 
we’re gonna get one coat on it.
Lana: Alright, okay, ‘cause I already told my painters, they’re going to be here tomorrow,
so they’re gonna hit it up with a second coat.
Marc: Perfect.
Lana: and they’re gonna do the touch up, because you know- you know what happens on Monday, Mark?
Marc: Art’s comin’, huh?
Lana: That’s right.
[saxophone]

English: 
Paul Gauguin. The Seed of the Areoi. 1892
Pablo Picasso. Woman Dressing Her Hair. Royan, June 1940
Wilhelm Lehmbruck. Kneeling Woman, [Kniende]. 1911
Henri Matisse. The Back (II-IV). c. 1911-1931
Barnett Newman. Broken Obelisk. 1963-69

English: 
Rachel Whiteread. Water Tower. 1998
Sarah Sze. Triple Point (Pendulum). 2013
Sarah Sze. Triple Point (Pendulum). 2013

English: 
[saxophone and sounds of drilling]
Sarah Sze, Artist: So in Venice, we used to hear this sound, didn’t we?
Assistant: This was up there.
Sarah: Because I kind of, I kind of like the sound.
Sarah: So, we could tape record it and put it in.
Ellen Moody, The David Booth Associate Sculpture Conservator: Are you going to add an ID to the work?
Sarah: I was going to add one thing to the work….and tell you…I was gonna tell you!
Ellen: It’s cool!
Sarah: Just so you know that’s...
Ellen: You would have told me.
Michelle Kuo, The Marlene Hess Curator of Painting and Sculpture: Is it an unlimited metrocard?
Sarah:  I think it’s worth more in the piece, Michelle.
Michelle: We’ll buy you a new MetroCard.
Sarah: I’m just going to put it on there.

English: 
Haim Steinbach. hello again. 2013
Haim Steinbach. hello again. 2013

English: 
Sarah: Yeah, there’s passes everywhere.
Sarah: There’s just one area that kind of 
bothers me over there.
Sarah: That’s where it’s gonna go!
Haim Steinbach, Artist: So, let me just look at this.
You know I’m thinking of the letters
 like characters walking...
Assistant: Mmhm.
Haim: walking along the floor, or hovering above it.

English: 
Haim Steinbach. hello again. 2013

English: 
You see the way the “g” flattens on the bottom?
 It’s almost like it hit the floor and it got smushed.
Yasmil Raymond, Associate Curator: Mmhm.
Yasmil: Should we, should we try…
Haim: Yeah, I think we should bring it down.
Assistant: It’s still straight?
Yasmil: Looking good. Yeah, it’s straight!
Haim: It’s less of a backdrop and more of a presence.
Matthew Truss, vocal coach, National Chorale:
Alright, kids, follow me!
Matthew and performers: ♫ Oooh – oooh….♫
Matthew: ♫ Everyone on phase two.
Step up, Matthew, to phase two. ♫
Matthew and performers: ♫ Oooh – oooh…♫
Guillermo Asca, movement coach, National Chorale:
And a forward and right and up and a left.
A forward, a left and a up and a side.

English: 
Arms are one, two, three, open
four, reverse, one, two, three, open four.
And a [breathes in]…and exhale [exhales]…
Matthew: Great! Devin and SangHoon to the greenroom, you are up first, everyone else,
we are participants in the museum, here to
see this new exhibit. What is this Fault Lines?
I liked the day that we thought of
the rocks as ice cream flavors, that was fun.
Performer: This looks like a mint chocolate chip.
Matthew: Mint chocolate chip. Yup. Mmhm. Exactly.
♫ You must be the reason for contraception. ♫
♫ I remember someone once telling you to be, telling you to be yourself. ♫

English: 
♫ That was the worst piece of advice you ever had. ♫
[Applause]
Matthew: Very nice, gentlemen! So a couple of things, when you guys are on the rocks together,
the intensity is so strong that you guys start singing
 so fast through the duet moments.
We want to catch those words, so slow it down, right? Right, Grand imposter, loathsome...
Saffron Chung, vocal coach, National Chorale: [faster] Not “grand imposter, loathsome hypocrite."
Matthew: Right, right, right and the ending as well. 
That’s the slowest part in the piece, isn’t it?
At the end? You are like a horse…or he...
you know what I’m saying, right?
If he were a horse nobody would buy him,
you’re like a rotten tooth. Right?
Take your time so that we get those words,  we get those insults. Yeah.
♫ ...and no iceberg, he’s all
tip and no iceberg, distinguished for ignorance. ♫

English: 
Jennifer Allora, Guillermo Calzadilla. 
Fault Lines (rehearsal). 2013

English: 
♫ He has only one idea... ♫
Anne Umland, The Blanchette Hooker Rockefeller Senior Curator of Painting & Sculpture: I think this is pretty good.

English: 
Jennifer Allora, Guillermo Calzadilla. Fault Lines (rehearsal). 2013
Constantin Brancusi. The Cock. Paris 1924
Constantin Brancusi. Mlle Pogany. version I, 1913 (after a marble of 1912)

English: 
Joan Miró. Object. Barcelona, spring 1936
Frida Kahlo. Self-Portrait with Cropped Hair. 1940
Hector Hyppolite. The Congo Queen. by 1946.
Alma Woodsey Thomas. Fiery Sunset. 1973
Claude Monet. Water Lilies. 1914–26

English: 
Pedro Cruz, Preparator: Go up. Then if you 
want to go first?
And then I'll go. Are you on?
Preparator: Yeah, I'm on.
Pedro: Okay, me too.
Pedro: You’re on, and then...
Ah, me too.
Bo: Ready? One, two, three.
Bo: Alright, good.

English: 
Elizabeth Riggle, Preparator: They’re all slightly irregular, so you level off as best you can.
There’s no reason to put in more than one.
Okay.
Michael Duffy, Paintings Conservator:
So we brought the painting to look at it under
the lighting conditions in the fifth floor
galleries where it’ll be installed here,

English: 
Marc Chagall. I and the Village. 1911
Morris Hirshfield. Inseparable Friends. 1941; Tiger. 1940
Unknown photographer. Photo-booth self-portraits. 1940s
Henri Rousseau. The Sleeping Gypsy. 1897

English: 
and that’s because some of the colors we’re
using to inpaint with can look slightly different
in the studio than they would in the gallery
lighting. It’s just to make sure all the
work we’ve done looks as good as it can.
Pedro: Okay, so we go up one, two, three up.
Tunji Adeniji, Director of Facilities and Safety:
 Good morning. Welcome back. Good morning.
Chet Gold, Security Supervisor: It's happening. 
The people are here.

English: 
Paul Cézanne. Château Noir. 1903-04
Henri Rousseau. The Sleeping Gypsy. 1897
Vincent van Gogh. The Starry Night. 1889
Paula Modersohn-Becker. Self-Portrait with Two Flowers in Her Raised Left Hand. 1907
Pablo Picasso. Les Demoiselles d’Avignon. 1907
Brice Marden. The Propitious Garden of Plane Image, Third Version. 2000-06
A Fool There Was. 1915. USA. Directed by Frank Powell.
