Retouching is among the most sensitive within ethics in conservation since it means to establish the aspect a restored object is expected to have.
My opinion is that the looks of an historical object is often as important as its physical-chemical condition, and not intervening provides poor results that might mislead its readability more than a proper intervention. The more we intend to make it as neutral as possible, the least arbitrary, we need to admit that retocuhing requires good taste.
New artwork arrives at the studio to be ready for an exhibition: pressure, limited time, bleeding inks...
Could it not be some other easier and more showing off artefacts?
Here's what I do when I don't seem to find much to do:
Tape removal, and failing to flatten under tension with magnets...
Mounting the artwork on a housing that secured an even tension on the artwork during the exhibition, was the last resource.
Tape removal, chemical and physical gels, microemulsions and much more. Review and abstract of the conference "Nanosystems. Application to tape removal on cellulosic supports,", which took place in Madrid (Spain), on June 6 to 8th, 2018; within the context of NanoRestArt, the european Research and Developement project.