Megan Randall, Assistant Conservator: It looks good? Like could they use a dusting, ‘cause now is the time. Bo Berkman, Lead Preparator: It looks kinda dirty,
but I can’t tell if it’s like, actually like- Megan: The piece? Bo: …a part of the piece, or blowing around
on the surface. Megan: Okay. Lana Hum, Director of Exhibition Design and Production: Alright, Mark, so tell me where we are. Mark (whispers): I can’t even lie now, huh? Lana: No you can’t, you have to tell me the truth,
‘cause we’re gonna catch you on film! Mark: On film! Lana: So I’m gonna hold you to this. Mark: So this, we’ll take care of tonight,
we’re gonna get one coat on it. Lana: Alright, okay, ‘cause I already told my painters, they’re going to be here tomorrow, so they’re gonna hit it up with a second coat. Mark: Perfect. Lana: and they’re gonna do the touch up, because you know- you know what happens on Monday, Mark? Mark: Art’s comin’, huh? Lana: That’s right. [saxophone] [saxophone and sounds of drilling] Sarah Sze, Artist: So in Venice, we used to hear this sound, didn’t we? Assistant: This was up there. Sarah: Because I kind of, I kind of like the sound. Sarah: So, we could tape record it and put it in. Ellen Moody, The David Booth Associate Sculpture Conservator: Are you going to add an ID to the work? Sarah: I was going to add one thing to the work….and tell you…I was gonna tell you! Ellen: It’s cool! Sarah: Just so you know that’s… Ellen: You would have told me. Michelle Kuo, The Marlene Hess Curator of Painting and Sculpture: Is it an unlimited metrocard? Sarah: I think it’s worth more in the piece, Michelle. Michelle: We’ll buy you a new MetroCard. Sarah: I’m just going to put it on there. Sarah: Yeah, there’s passes everywhere. Sarah: There’s just one area that kind of
bothers me over there. Sarah: That’s where it’s gonna go! Haim Steinbach, Artist: So, let me just look at this. You know I’m thinking of the letters
like characters walking… Assistant: Mmhm. Haim: walking along the floor, or hovering above it. You see the way the “g” flattens on the bottom?
It’s almost like it hit the floor and it got smushed. Yasmil Raymond, Associate Curator: Mmhm. Yasmil: Should we, should we try… Haim: Yeah, I think we should bring it down. Assistant: It’s still straight? Yasmil: Looking good. Yeah, it’s straight! Haim: It’s less of a backdrop and more of a presence. Matthew Truss, vocal coach, National Chorale:
Alright, kids, follow me! Matthew and performers: ♫ Oooh – oooh….♫ Matthew: ♫ Everyone on phase two.
Step up, Matthew, to phase two. ♫ Matthew and performers: ♫ Oooh – oooh…♫ Guillermo Asca, movement coach, National Chorale:
And a forward and right and up and a left. A forward, a left and a up and a side. Arms are one, two, three, open
four, reverse, one, two, three, open four. And a [breathes in]…and exhale [exhales]… Matthew: Great! Devin and SangHoon to the greenroom, you are up first, everyone else, we are participants in the museum, here to
see this new exhibit. What is this Fault Lines? I liked the day that we thought of
the rocks as ice cream flavors, that was fun. Performer: This looks like a mint chocolate chip. Matthew: Mint chocolate chip. Yup. Mmhm. Exactly. ♫ You must be the reason for contraception. ♫ ♫ I remember someone once telling you to be, telling you to be yourself. ♫ ♫ That was the worst piece of advice you ever had. ♫ [Applause] Matthew: Very nice, gentlemen! So a couple of things, when you guys are on the rocks together, the intensity is so strong that you guys start singing
so fast through the duet moments. We want to catch those words, so slow it down, right? Right, Grand imposter, loathsome… Saffron Chung, vocal coach, National Chorale: [faster] Not “grand imposter, loathsome hypocrite.” Matthew: Right, right, right and the ending as well.
That’s the slowest part in the piece, isn’t it? At the end? You are like a horse…or he…
you know what I’m saying, right? If he were a horse nobody would buy him,
you’re like a rotten tooth. Right? Take your time so that we get those words, we get those insults. Yeah. ♫ …and no iceberg, he’s all
tip and no iceberg, distinguished for ignorance. ♫ ♫ He has only one idea… ♫ Anne Umland, The Blanchette Hooker Rockefeller Senior Curator of Painting & Sculpture: I think this is pretty good. Pedro Cruz, Preparator: Go up. Then if you
want to go first? And then I’ll go. Are you on? Preparator: Yeah, I’m on. Pedro: Okay, me too. Pedro: You’re on, and then… Ah, me too. Bo: Ready? One, two, three. Bo: Alright, good. Elizabeth Riggle, Preparator: They’re all slightly irregular, so you level off as best you can. There’s no reason to put in more than one. Okay. Michael Duffy, Paintings Conservator:
So we brought the painting to look at it under the lighting conditions in the fifth floor
galleries where it’ll be installed here, and that’s because some of the colors we’re
using to inpaint with can look slightly different in the studio than they would in the gallery
lighting. It’s just to make sure all the work we’ve done looks as good as it can. Pedro: Okay, so we go up one, two, three up. Tunji Adeniji, Director of Facilities and Safety:
Good morning. Welcome back. Good morning. Chet Gold, Security Supervisor: It’s happening.
The people are here.