Paradigm shift: From damage assessment to integrity assessment
A paradigm shift in the assessment of damage and Conservation /restoration of works of art
The condition of works of art has always been defined in terms of damage—particularly in the context of insurance claims and restoration work. The starting point for any assessment was the question of damage: What has been lost? What interventions were necessary? What resulting decrease in value does this entail?
It seems as if a notice is stuck to a monitor, attached with a piece of adhesive tape. The note reads: DEFEKT (out of order). But the notice, the tape and the filmed screen are nothing more than the video work itself.
This perspective is deeply rooted in practice. However, it is limited in its methodological approach. This is because the assessment of damage is not an objective measure. It is always also the result of an individual, experience-based evaluation by the expert or restorer. Two experts may assess the same damage differently—with correspondingly divergent results regarding the description of the condition and the reduction in value.
Added to this is a fundamental problem: traditional damage assessment focuses primarily on the material level. It considers loss of substance, alterations, retouching, and structural changes. In doing so, it reduces the artwork to its physical appearance.
More than material
However, a work of art is more than just material. It is a vehicle for meaning. It conveys artistic intent, is embedded in historical contexts, and is shaped by perception and reception. These intangible dimensions are essential to the quality of a work, yet they are inadequately captured in an assessment focused solely on damage.
Change of perspective
Against this backdrop, a shift in perspective seems necessary: away from focusing exclusively on damage, and toward an assessment of a work of art’s integrity.
In common parlance, the concept of integrity is associated with intactness and wholeness. When applied to works of art, however, integrity describes not an absolute but a relative state. What matters is not merely the absence of damage—that is, a positive state of preservation—but the relationship of all individual characteristics to an ideal reference state.
In conservation methodology, the integrity of a work is understood as the interplay between its physical substance and its intangible meaning. Thus, the assessment does not focus on a single aspect in isolation, but rather on the relationship between the material, design, historical significance, context, and perception, as compared to a hypothetical, optimally preserved reference work in museum condition.
This definition leads to a fundamental distinction between physical and non-physical integrity.
Material integrity
Material integrity encompasses the physical substance and its state of preservation. In particular, it includes the original substance, the technical execution and any alterations thereto, the formal structure, as well as historical signs of aging and wear. What is decisive here is not only whether alterations are present, but how they are to be evaluated: loss of material generally has a negative impact, whereas signs of aging inherent to the work can actually enhance its authenticity.
Immaterial integrity
Intangible integrity, on the other hand, pertains to the work’s level of meaning. It encompasses the artist’s intention, the work’s thematic message, its historical and cultural context, and the perception of the work as a coherent whole. A work can exhibit a high degree of intangible integrity despite physical interventions if its message, function, and perception have remained largely unchanged.
Only through the systematic separation and simultaneous integration of these two levels is a nuanced assessment possible. The integrity of the work arises from the relationship between these factors and is determined in comparison to a reference work maintained in a museum setting.
This comparison is key. It establishes an objective standard that goes beyond individual judgment.
Insurance, Restoration, and Depreciation
In the traditional insurance model, the logic is clear: the condition of a work of art is at its worst immediately after damage occurs. Restoration can improve this condition, but it will never return the work to the level of an undamaged, unrestored piece. Accordingly, the loss in value is permanent.
A consideration of integrity leads to a more nuanced assessment. A professional restoration can not only repair damage but also significantly improve a work’s legibility, stability, and overall impact. In such cases, integrity—particularly on an intangible level—can reach a standard comparable to that of an undamaged reference work or even surpass it in certain respects.
Integrity is therefore not a static state, but a dynamic construct. It describes not only loss, but above all the potential for preservation and restoration.
The result is a fundamental shift in perspective when it comes to evaluation: the focus is no longer on the question “How badly is a work of art damaged?”, but rather “How much of its material and immaterial integrity remains, compared to a work in optimal condition?”
Paradigm shift
This paradigm shift has far-reaching implications—particularly in the insurance industry. Valuations become more transparent, as they are based on defined criteria and a clear benchmark. At the same time, reliance on subjective individual assessments is reduced. Impairments are no longer determined primarily by the extent of the damage, but rather by the degree of loss of integrity.
This creates a system that better captures the complexity of works of art. It takes into account not only physical changes but also the intangible qualities that constitute a work’s true value.
A focus on integrity is therefore more than just a methodological alternative. It is the prerequisite for a contemporary, nuanced, and academically sound evaluation of works of art.
The shift from damage assessments to integrity assessments is therefore not an optional approach, but a necessary paradigm shift.
Dr. Martin Pracher, March 2026
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