If it takes a village to dismantle an exhibit, shouldn’t that village have a conservator?

In a short article in the February 28, 2014 issue of The Wall Street Journal (“The Herculean Task of Moving Mike Kelley”), Anna Russell discusses the complex process of deinstalling, packing, and loading onto trucks the more than 200 works from the Mike Kelley retrospective that had been at MoMA PS1 in New York and was moving on to the Los Angeles Museum of Contemporary Art. There is no mention of a conservator among the thirty-four workers involved in the project. Shouldn’t there have been at least one them there?