A work of art (painting, sculpture) undergoes primary analysis as soon as it arrives in the conservation laboratory. The process starts with the disclosure of whether it will be placed in the museum's exhibition, if it is scheduled for lending for exhibition at another institution, and if it has already been found to require immediate maintenance due to physical deterioration during a regular checkup while in storage. 

A Condition Report of the work of art contains all visual observations made by the responsible conservator. The Technical Report proposes a maintenance plan, and includes a detailed reference of the work's construction materials, possible causes and condition of wear, and parallel photographic documentation. As for the photographic documentation:

1. For drawn and painted works, photos of both the front and rear of the work are taken, using both lateral and transmitted light to expose and capture all identifying marks of the item (i.e. its construction style, the brushstroke style used, the artist's signature)and wear   (indicative of the support: deformations, tenting, tears, loss of material, holes, etc., or the color layer: possible detachments, loss, cracking and flaking, etc.) and previous restoration (e.g. total or local lining of the cloth support). Ultraviolet imaging follows, again with concurrent photographic documentation, to identify and record any previous procedures carried out on any of the inter-layers, caused by over-paintings, color restoration or fastening procedures done to the color layer. To properly determine the condition of painted works on a paper support, and to evaluate the best course of conservation, macroscopic analysis may be accompanied by measurement of the paper's acidity level (pH). The measurement is non invasive and done using either special pH testing pens or a digital pH meter.

The final step in the analysis of a work of art is done with a stereomicroscope and photographic imaging. The stereomicroscope is able to analyze the individual components, styles and techinques used in the work, as well as precisely locate areas  of damage, their extent and accurately estimate their cause.   

Research is also completed on the artist of the work, his/her techniques and any relevant historical data, all of which can help in its conservation.The collection of all findings is facilitated by the E.P.M.A.S system (Cartex and electronic file system Museum Plus) and the librarys resources.

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2. For sculptures

the initial research begins by researching information on the sculpture's exhibition and storage history, as well as its future exhibition schedule. A record is made of the scultpure's materials and technical construction, its supports, along with all data about its base (if any exists). At this stage, research is done about the sculpture and its artist. If the artist is still living, further contact is established with the artist and their colleagues, and questions are submitted to them about any outstanding questions regarding the materials or techniques used. Materials and techniques used are further analyzed through physicochemical analysis (in collaboration with research institutes if necessary). 

This is all followed by the recording of any wear and its extent, areas showing risk of future wear, noting of any previous restoration, and any observation that may be helpful in helping to select appropriate conservation treatment for the specific work. 

Photographic documentation of the entire work and its details, is done using macroscopic imaging and, where appropriate, it is analyzed using an optical microscope.