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Museum conservators face a recurring dilemma when restoring damaged artworks: intervene too little, and deterioration continues unchecked; intervene too much, and the restorer's hand risks overwriting the original artist's intent. This tension became particularly visible during the twentieth century, when several high-profile restorations were later criticized for using materials or techniques that altered the appearance of the original work in ways that could not be reversed. In response, the field increasingly adopted a principle of minimal, reversible intervention, favoring adhesives and fillers that can later be removed without damaging the underlying material, even if this means the restored piece looks visibly imperfect compared to more aggressive alternatives.