Dr. Pip Laurenson is Professor of Conservation at University College London (UCL) and Director of the MSc in the Conservation of Contemporary Art and Media at UCL East.

With 30 years of experience in the conservation of contemporary art, Laurenson started her career as a sculpture conservator at Tate and later established and led Tate’s Time-based Media Conservation section from 1996 to 2010.

Laurenson is committed to interdisciplinary research and practice that serves and responds to the challenges facing the conservation of contemporary collections in the 21st Century.  Between 2010 and 2022, she was Head of Collection Care Research at Tate, where she secured awards for research from a range of funders and led the Mellon Foundation-funded project Reshaping the Collectible: When Artworks Live in the Museum from 2018 to 2022.

Laurenson received her doctorate from UCL and is an accredited member of the Institute for Conservation (ICON) and Co-Chair of ICON Contemporary. She is a member of the Steering Committee for the International Network for the Conservation of Contemporary Art (INCCA) and a Fellow of the International Institute for Conservation (IIC).

Kate Lewis is the Agnes Gund Chief Conservator and a Media Conservator at The Museum of Modern Art (MoMA) in New York. Over the years, Lewis has worked with many artists, including Beryl Korot, David Lamelas, Tony Oursler, and Lis Rhodes. Before joining MoMA, she was a time-based media conservator at Tate in London from 2005 to 2013. She earned her M.A. in the Conservation of Works of Art on Paper from the University of Northumbria in Newcastle-upon-Tyne, United Kingdom, and her B.A. in the History of Art from the Courtauld Institute of Art, University of London. Actively engaged in training and access, she leads a four-year MoMA initiative funded by the Mellon Foundation, focused on broadening pathways into conservation. She is also an Adjunct Instructor in time-based media at the Conservation Center of the Institute of Fine Arts at New York University and serves on the Board of Voices in Contemporary Art (VoCA), where she co-established their recent Time-based Media Stewardship Workshop series.

Nancy (Nani) Lew is a conservator at the Leeum Museum of Art, specialising in modern and contemporary art conservation. She holds a bachelor's degree in Western Painting from Seoul National University and earned her master's and doctoral degrees in oil painting conservation from Tokyo University of the Arts. Since joining the Samsung Cultural Foundation in 2002, she has worked on the conservation of modern and contemporary artworks at the Hoam Museum of Art and the Leeum Museum of Art, both of which are under the Foundation. She served as the Head of Conservation for three years, leading major preservation projects and research initiatives.

With over two decades of experience, she has contributed to the development of conservation practices for a wide range of materials and media. Her research interests include Korean modern oil paintings and contemporary installation art, with a particular focus on adapting conservation methods to the challenges posed by evolving artistic materials and techniques. She continues to explore progressive approaches to ensure the longevity of cultural heritage for the future. Additionally, she is deeply committed to advancing networking efforts in the field of contemporary art conservation in Korea.

Sara Moy was the founding conservator at M+ in 2013 and returned to the museum in 2023 to continue her work in conservation. She specialises in the preservation of modern and contemporary art, particularly the challenges posed by complex and evolving media. Her interests lie in contemporary conservation methodologies, with a focus on understanding media behaviours, collaborating with artists, and documenting changes in artworks over time. She has worked extensively with artists and interdisciplinary teams to develop conservation strategies that respond to the changing nature of media and the evolving contexts in which artworks are experienced.

She holds a BA in Visual Arts from Bennington College, United States, and an MSc in Conservation from University College London, United Kingdom.  Her career spans roles at the Arts and Antiques Division of the New York City Department of Parks & Recreation, the Kaman-Kalehöyük excavation in Turkey, and conservation positions at Harvard University’s Peabody Museum, the Straus Center for Conservation and Technical Studies at the Harvard Art Museums, and the Harpers Ferry Division of Conservation at the US National Park Service. She has also held positions at the Brooklyn Museum and the Art Institute of Chicago, as well as working independently to provide conservation services to museums, foundations, and private clients across the US and Europe.

Amanda Pagliarino is an art conservator and researcher and the Head of Conservation and Registration at the Queensland Art Gallery | Gallery of Modern Art, Brisbane. Her research interests include conservation of contemporary and complex art installations, responsible and sustainable collection management, and the impact of climate change on museum practices. Pagliarino has been working in museum and collection environment research since 2015 with a particular focus on museum practices in humid climates, and more recently, investigating the museum environment in arid climates. She is an IIC Fellow, Churchill Fellow, and has recently completed research residencies at the Getty Conservation Institute and Art Jameel. She is an advocate for climate-responsive and climate-active advancements in museum collection management practices and promotes collaboration and cooperation as a way forward.

Deborah  Potter brings thirty years of experience in the museums and galleries sector across a range of organisations, with over twelve years at Tate and is a champion of leadership, collection care practice, and environmental sustainability. She is Director of Collection Care, leading the division in its mission to manage and care for Tate’s continually evolving collections and deliver Tate’s programme across its multi-site, international operation. Through these activities, the division plays a key role in safeguarding Tate’s public reputation, generating income and maintaining financial sustainability.  The Collection Care Division comprises of Collection Management, Conservation, Library, Archive & Records Management, and Business Administration.  

She has previously worked at organisations such as National Army Museum, Glasgow Museums, University of Leicester, Royal Naval Museum, and Linenhall Library. She has studied at Durham University, University of Leicester, University of St Andrews, Queen’s University Belfast, University of Toronto, and University of the West of Scotland.  She completed the Oxford Cultural Leaders programme in 2022 and holds accreditation.

Alistair Hudson is the Scientific-Artistic Chairman of the ZKM | Center for Art and Media Karlsruhe since April 1, 2023. He succeeds Peter Weibel, who had headed the institution since 1999.

Hudson is a curator and museum director with broad-ranging international experience. He combines contemporary curatorial expertise with a profound knowledge of the relationship between art, technology, and society. From 2018 to 2022, he served as director of two museums in Manchester: the Manchester Art Gallery and The Whitworth. The latter is the art museum of the University of Manchester, where he was also Professor of Useful Art.

In 1994, after completing his studies in art history and fine art, he went to work for the prestigious Anthony d’Offay Gallery in London. From 2000, he served as curator of public projects for the Government Art Collection. From 2004, he was vice director of Grizedale Arts, a ground-breaking art institution and international artists residency programme operating from a farm in England’s Lake District. From 2014, he served as director of the Middlesbrough Institute of Modern Art, where he radically re-invented the museum, working with the residents of the city to give it social purpose.

Hudson’s concept of a ‘useful museum’ envisions artistic and cultural institutions as centres of social responsibility and transformation. Together with the artist Tania Bruguera, he heads the international network Asociación de Arte Útil.

Veronica Castillo oversees three departmental divisions—Collection, Archives and Library; Conservation; and Exhibitions—that care for and provide access to the museum’s collections and loan objects. Since joining M+ in 2012, she has played a critical role in establishing the museum’s foundation of best practices for the long-term management, preservation, and safe display of its collections. Her expertise was key to driving the operational design of the M+ building and the structure of the Collection and Exhibition Department. She chairs the Sustainability Steering Committee, which oversees the institution’s efforts to implement greener practices.

Castillo leads the international touring of M+ exhibitions, which is an integral part of the museum’s outreach strategy to foster collaboration and build partnerships with global arts and cultural institutions. She managed the international tour of M+’s first Special Exhibition, Yayoi Kusama: 1945 to Now, the largest retrospective of Yayoi Kusama in Asia outside of Japan, to Guggenheim Museum Bilbao in Spain and Serralves Museum in Porto, Portugal. She is currently spearheading the international tour of M+’s critically acclaimed I. M. Pei: Life Is Architecture, the first full-scale retrospective of the world-renowned architect.

Earlier in her career, Castillo held a wide range of leadership positions at Museo Nacional Centro de Arte Reina Sofía in Madrid between 2001 and 2011, where she organised the delivery of the inaugural exhibition programme upon the institution’s expansion in 2004. She was also Acting Director and Head Registrar of Museo Carmen Thyssen Málaga during its foundational period.

Castillo is currently a member of the Steering Committee for the International Exhibitions Organisers Group. She actively represents M+ at international forums related to collection management, exhibition, and conservation.