The aim of this thesis is to consider the role of conservation in response to the theoretical and
ethical challenges posed by contemporary art phenomena. This is pursued through the
investigation of various theoretical conceptions of artwork ontology, of artwork and heritage
identities, and of the ways in which these articulate the concept of ‘harm’ and the principle ‘dono-
harm’ in conservation ethics. The thesis focuses on the harms that may be brought about to
artworks by conservators by committing wrongs or injustices in decision-making processes due to
the inadequacy of conservation’s conceptual frame for guiding decisions. The perceived
complexity of emerging conservation challenges has led to a widespread recognition that
traditional conservation ethics cannot be reconciled with the demands of contemporary art
forms. Against this, it is argued that the conception of conservation as a system, and the
suggested subsumption of key concepts defining the object of conservation and evaluating
conservation practice under broader ones, provide an adequate conceptual frame. The new frame
incorporates the particularities of both traditional and contemporary art phenomena, as a unified
methodology for conservation decision-making.