The basic issues are materials and methods. Preservation methods typically take longer, require a more experienced practitioner and should be continually reviewed to conform to current standards in the conservation field. The materials of preservation framing are chosen to be benign in proximity to works of art over time, to be protective when so required, and to be stable and utterly predictable in their properties. A good example is the “hinge”, a simple paper device that holds a work on paper in place in the frame. A preservation quality hinge is made from stable papers whose characteristics are well known: usually Japanese papers are preferred. And the best adhesive is made fresh in the frame shop, from either wheat or rice starch and distilled water. To make and use such a hinge is time consuming and requires skillful technique. Since hinging is the point where works are most often damaged by framing, the effort is worth it.