For the individual collector, particularly for the artist, the drive to preserve one's own collection can be just as strong as that of any institution though limited to the knowledge and resources that are at his or her disposal. However, institutions and individuals alike need to seriously consider whether the percentage of resources committed to the ongoing care of their collections matches the monetary, historic, or personal worth of that collection. By gathering information, assessing the risks to the artwork in your collection in its current situation, and making an initial investment in archival storage materials, you can begin to improve the chances of your artwork surviving in good condition. Of course there are uncontrollable factors but this article will focus on practical steps that you can take to minimize common risks to your collection. We can begin to add up risk factors and prioritize solutions by working systematically outwards from those factors whose sources are located closest to the artworkóif not inherent, i.e., those that are in the materials incorporated into the artwork itselfóout towards those presented by exterior conditions such as the climate or security surrounding the storage location. In general, as we progress outwards, the risks become less likely but more difficult and costly to control. We must, however, consider all risk factors since any one of them left unchecked can be devastating. The damage created by poor housing materials can be as destructive as a fire, clearly not as fast acting, but much more likely to occur. Risky Business: Can You AffordThe selection of housing material is an area that is often controversial and in flux. New materials and procedures are regularly brought into the field of conservation, especially from other sectors, such as Tyvek from building construction. This is also true for storage furniture. The migration of acid from these sources can cause weakening and discoloration of paper. It is crucial that only acid-free material surround and protect paper art. Additionally it is important to choose furniture that will not off-gas harmful elements into the storage environment. Are your works housed adequately? The atmosphere within the storage room should be as free as possible from air pollutants, soot, and dust. These contaminants cause staining, color changes, and unwanted chemical reactions in unprotected artwork. An unkempt area will also attract pests. Overexposure to light, particularly ultraviolet light that is present in many indoor environments as well as in sunlight, can cause irreparable color changes in paper and, like excessive heat, make it more brittle via desiccation. Large fluctuations and extremes in relative humidity (RH) should be avoided to prevent overall stress on the object, desiccation on the one extreme (RH below 50 percent) and mold on the other (RH above 70 percent). What are the atmosphere and light conditions like in your storage area? The chance of a fire or flood must be minimized to avert devastating damage. Security needs to be examined. Should all of the collection be kept in only one place? Once all of these environmental factors are considered there is yet another more prevalent source of damage to paper art. Artwork is most vulnerable when it is being handled or moved. Minimizing handling is the surest way to prevent folds, tears, fingerprints, and smudges. A well-organized inventory that includes specific locations, images of artwork in the collection, and clearly marked storage units will go a long way towards allowing your collection to rest in good condition until it is physically needed. Once you make a clear assessment of the vulnerabilities of the collection, you can begin to proceed effectively on several fronts as well as to create a budget for top-priority improvements. Usually the most costly solutions involve climate control and monitoring. A cost-effective approach to providing a more stable environment for paper art is to focus on the creation of microclimatesóthat is, smaller enclosures (microenclosures) within the larger environment where the moisture content of the various components of the art can easily come to and maintain equilibrium. The microclimate can buffer the effect of a storage area that is prone to large fluctuations in either RH or temperature. Microenclosures also provide physical protection when handling work and from pests and airborne dirt. As paper art can be two- or three-dimensional, microenclosures must take the appropriate form: boxes, interleaved folders in drawers, or sealed frames. Alternatively to creating microclimates, you can keep a well-maintained air conditioner running continually at a low level in a relatively sealed room to keep a constant environment as well as filter the air. If the electricity is cut the room should remain sealed so that the change in RH and temperature can happen gradually and the artwork can more easily adjust to it. These two solutions can certainly be implemented in tandem if the budget allows. In designing microenclosures, you can keep your costs down by making enclosures yourself from high-quality materials instead of buying pre-made pieces. Archival, acid-free materials are expensive, but necessary. Unframed two-dimensional pieces can be housed using glassine as an interleaf and organized within large custom-cut cardstock folders. The housing materials should be cut several inches larger than the artwork to insure coverage and easier handling. Stack them in flat-file drawers, for example, so that the space is efficiently used but not overcrowded. Works with relief or friable material require either a deep clockwise from top left: Folders with interleaved artwork organized in lined flat file drawer; wrapped artist books in flat file; a Coroplast clamshell box houses handmade paper editioned artworks. 36 - hand papermaking mat or shallow box before being stacked. The bottoms of drawers can be lined with thin polyethylene foam, either Volara or Ethafoam, to prevent the folders from sliding when the drawer is accessed. If you are storing work in a wooden dresser, make sure it is an older one that would be less actively off-gassing harmful elements and block those that remain by lining the drawer interiors with Marvelseal 360, a foil barrier material. Avoid using any adhesives, i.e., tapes and labels, within the drawers. Use a pencil to list inventory on each folder. For three-dimensional works a custom-made Coroplast box can be constructed to house one or more piece. To gently secure them in place inside the box, you can use shaped Ethafoam or acid-free cardboard dividers or pads attached to the box with a minimum of archival double-stick tape. Diagram 1 illustrates how you can attach a layer of Nomex, Dartek, or the smoothest Tyvek over the supporting elements to protect the work from abrasion. Large labels or images can be attached to the box in order to easily identify the work without opening the box. In the storage area, stack boxes on powder-finished metal enamel shelving. The shelves can also be draped to further protect the work from dust or a leaky ceiling, as well as provide another buffering layer while still allowing some flow of air. Other furniture for storage includes racks for framed works. You can build these large open shelving units yourself from sealed wood or non-corroding metal with vertical dividers to make rows of large cubbyholes. Cover the bottom of each of these spaces with indoor/outdoor minimal-nap carpeting for soft and smooth support of framed work when sliding them in and out of the rack. All storage furniture should be elevated off the ground by several inches in case of spills or flooding. There are many sources for information on climate monitoring, disaster mitigation and response, and other preservation issues. I have listed a few sources for information and archival materials below. By arming yourself with a general knowledge of the threats to paper art, you can make more effective collection care decisions. Like any asset, artwork must be actively cared for in order to retain its value whether aesthetic, historic, or monetary. The outlay of resourcesó"affordability" óshould be considered in the context of ongoing, inevitable deterioration as well as outright disaster. There is peril in passive appreciation and recompense in proactive, conscientious collection care. list of resources For technical leaflets, guidance on disaster planning, and resource information: northeast document conservation center (www.nedcc.org, tel 978-470-1010) For supplies: masterpak (www.masterpak-usa.com, tel 800-922-5522) Ethafoam, glassine, acid-free cardboard, framers tape, Tyvek, Nomex talas (www.talasonline.com, tel 212-219-0770) map folders, Volara, Ethafoam, acid-free double-stick tape, gloves, Marvelseal 360, Dartek university products (www.archivalsuppliers.com, tel 800-628-1912) foams, Tyvek, glassine, Coroplast, folder stock, Marvelseal 360, Dartek