Reflecting on 12 Months of Conservation at the Museum

We are often so busy working that we rarely have the time to stop and reflect. Yet 2025 was an eventful time for the Museum’s conservation team: we welcomed new team members, undertook complex treatments, prepared objects for display and contributed to opening five new galleries.

As we embark on our last year of the Museum’s renovation initiative, I’ve selected twelve projects from 2025 to celebrate this milestone. Each one features unique conservation challenges and accomplishments, reflecting on the wide range of skills and expertise the team brings to the National Air and Space Museum. Many of the object treatments revealed new stories or discoveries about the artifacts, while others required innovative solutions for display. Much of this work was completed within tight deadlines, and required coordination with various colleagues, adding to the overall success of transformation.

January: Preservation of the Hubble Space Telescope Back-up Mirror

As one of the only artifacts unable to be moved during renovation of the building due to its fragility and sensitivity, the Hubble Space Telescope back-up Mirror was removed from its acrylic enclosure and cleaned for the first time in decades before being installed next to the Hubble Test Model in RTX Living in the Space Age Hall. Cleaning the Mirror may seem routine, but its sensitive composition and bespoke housing created unique challenges for the conservators tasked with cleaning the varied surfaces. Led by conservator Allison Kelley, the conservation team systematically cleaned the interior surfaces by removing the acrylic cover one piece at a time, spending several days alternating between cleaning and removal and replacement of the complex covering. During the project, the curator found an image showing the mirror undergoing examination by a team of inspectors during its manufacture. She was so delighted with the results of the cleaning that the team recreated the image for her marking “new Hubble history” as we finalized the project for display!

February: Models, Models and More Models… over 230 to be exact!

In the second month of 2025, we reflect on all the models conserved as part of transformation. Over 230 to be exact across all 23 galleries! The Museum’s collection contains a wide variety of models, ranging from scaled flyable models to static models of aircraft and spacecraft, to full-sized back-up models of unmanned satellites, telescopes, rovers and more. Models come in all different shapes, sizes and materials, challenging conservators to come up with innovative solutions for a hybrid treatment approach requiring the skills of both the conservator and the curator, who is himself a model-maker. One thing that is guaranteed is that no two models are alike. Conservator Sean Billups tackled the treatment of several models including the MiG-15bis model scheduled for display in the Modern Military Aviation exhibition. Many historic models are too fragile to rest on their own wheels and require specialized support for treatment, photography and display. Shown beneath the model (image below) are tiny towers that Sean designed and 3D printed to accommodate multiple heights and shapes, allowing the weight to be taken off the wheels, and safely supported for documentation and treatment.

March: T-Minus 10 seconds… Conservation of the Shuttle Era Countdown Clock

On the third month of 2025, the historic countdown clock, scheduled for display in At Home in Space gallery, came into the conservation laboratory for treatment. The clock was acquired by the Museum after years of use at NASA, where it was positioned within the VIP viewing area for Space Shuttle launches at the Kennedy Space Center Visitor’s Center. Its condition reflected its long history of being used outside, complete with sun-bleached painted surfaces and evidence of biological debris inside (grass, critters and more!). Conservator Kate Gabrielli worked closely with the curator and archives staff to develop a treatment strategy to make it look like the clock was in operation again for display. Its final presentation gives Museum visitors the sense of an authentic countdown—with T-minus 10 seconds to lift off!

April: “Do not Touch”: Conservation of the AIA Thin Film Filters

When the curator proposed acquisition and display of AIA (Atmospheric Imaging Assembly) Telescope elements, no one at the Museum realized one critical detail: the components could not be touched. The telescope’s thin-film aluminum and zirconium filters only measure between 1500 and 3000 Angstroms thick (a human hair is around 750,000 Angstroms), making them so delicate that they could be damaged by an errant breath or tool. Working in collaboration with the donor and using specialized handling tools, conservator Kate Gabrielli accessed the components to document and measure them for mount preparation. Surprisingly, the procedure was not as intimidating as it first appeared, and Kate learned a new technique in the process. The objects were returned to the cannisters so they could be safely transported to the museum for display. As with all conservation activities, this exercise was thoroughly documented, and the conservator utilized multiple “do not touch” signs within the laboratory as she undertook this delicate work. Removal and access to the artifacts allowed the exhibits team time to design display strategies for their debut in RTX Living in the Space Age Hall.

May: The Helicopter Evacuation Pod: From Junkyard to Display

Pulled straight out of a junkyard, the Helicopter Evacuation Pod is an example of “one person’s trash is another person’s treasure”.  The object was donated to NASM after it was discovered by the curator illustrating the crude accommodations for transporting wounded in the Korean War era. Its history includes evacuation of wounded soldiers in helicopters, utilizing new materials such as lightweight aluminum and doped fabric to keep patients from being exposed to extreme elements. Conservator Deborah Parr determined the level of treatment and care, focusing on one that would preserve the object’s history for museum visitors. As a composite artifact composed of multiple materials—the top is made from doped fabric like aircraft wings—it required a balanced approach. The treatment included stabilizing corrosion, consolidating flaking paint and repairing broken parts through minimal intervention, preserving original materials and signs of wear.  The helicopter pod will be featured in Modern Military Aviation.

June: A peek inside the “Dog Doo” transmitter

One of smallest yet most intriguing objects to enter the conservation laboratory during transformation was the “Dog Doo” transmitter—a small instrument camouflaged to resemble the excrement of a dog. Fun fact: Medium-sized dogs were not indigenous to the areas where the medium-sized “dog doo” was being dropped!  This piece of hardware is a low-powered transmitting device which could send signals indicating vibrations of trucks and equipment moving on the Ho Chi Minh trail to relay to aircraft miles away. The signals were then passed on to a targeting center, which would guide bombers to the transmitter’s location. While in the lab, conservator Janelle Batkin-Hall used the Museum’s x-radiography equipment to peek inside, revealing the complex inner workings and ensuring the batteries and equipment were stable for display. Fortunately, they appear to be intact and will be safely exhibited in Modern Military Aviation.

July: Preserving the History of MACE and MODE

The MACE (Middeck Active Control Experiment) and MODE (Middeck O-Gravity Dynamics Experiment) were flown hardware used aboard the Space Shuttles to investigate how motion affects the structural stability of precision spacecraft in microgravity. After the equipment arrived at the Museum, conservator Sean Billups examined and documented its multiple parts in collaboration with the curator. As he examined and cleaned the individual parts, the challenge of mounting the system “in gravity” for display emerged. Working closely with exhibits team, several solutions were explored to present the hardware as closely as possible to how it was used aboard the Space Shuttle—all while considering the safety of the materials and adjacent artifacts on display. Given the complexity of the mount, Sean documented the process, creating a detailed diagram for the exhibition installation team so it could be safely exhibited in At Home in Space.

August: Textile Mannequins, An Infant Gas Mask

Gas masks for infants are specialized hoods designed to create positive air flow, preventing contaminated air and gases from entering the mask when in use. Another individual, or parent, would use a small pump to fill the mask clean air while exhausting used air at the same time. Due to their complex design and fragile materials, the curator requested that conservator Beth Knight create a mannequin form that would help visitors understand how they were used. Delicate insertion of a mannequin would be integral to the treatment of sensitive materials used in the mask’s construction such as rubbers, textiles and an asbestos lined air filter system. After treatment, Beth applied her textile conservation skills to fabricate a custom, child-sized form that fits into the mask for display. She collaborated with her colleagues to determine the size and posture of an appropriate mannequin, positioning it as if someone was carrying the small child through a toxic environment to safety. Given the sensitive subject matter, the mannequin was intentionally designed to visually “fade away” allowing visitors to focus on the artifact, and its historical significance within the larger exhibition story presented in Jay I. Kislak World War II in the Air gallery.

September: The Control Unit, Magnetic Airborne Detection, AM-1/ASQ-1

What began as a straightforward treatment for a Control Unit, part of a system that allowed allied aircraft to hunt submerged German submarines, quickly turned into an unexpected collaboration between conservator Allison Kelley, the curator, and health and safety coordinator Matt Gross. After discovering the presence of toxic PCBs (polychlorinated biphenyls used as lubricants and coolants) the team worked together to develop a new Museum protocol for containing the material within the artifact allowing it to be safely displayed. The normal course of action within industry would be to discard of all the materials which are deemed “out of use” and unsafe, and if they are not able to be removed would require disposal of the entire object. Allison and the curator advocated on behalf of the object, noting its historical significance and one-of-a-kind status in the Museum’s collection, seeking a solution to maintain its integrity while following appropriate safety requirements for treatment and display. While the items in the Museum’s collection no longer perform their design functions, they are still very much “in use” as witnesses to our technological past and support telling stories of innovation. The control unit will be displayed in Jay I. Kislak World War II in the Air gallery.

October: Bringing Conservation to the Public: Textile Conservation Outreach

In addition to displaying textiles in each gallery, conservator Beth Knight participated in several public outreach events to demonstrate how she builds mannequins for the wide variety of textile garments in the Museum’s collection. Individualized conservation mannequin forms always begin with the basics, yet they require customization to support the shape of the garments and take into consideration how visitors will perceive them on display.  Special attention is given to textiles worn by named individuals such as Chauncey Spencer’s flight suit displayed in the Barron Hilton Pioneers of Flight exhibition or Nandini Harinath’s Saree the Futures in Space gallery—making sure all the details are correctly presented. Textiles resonate with the public, as everyone has clothing or uses textiles at work and home. Outreach events allow Museum staff to share their skills and stories with audiences of all ages, and help visitors understand how to care for their own treasures.

November- Viet Cong Sandals

A pair of black rubber sandals representing a "Ho Chi Minh" style (Vietnamese dép lốp "tire sandal") scheduled for display in the Modern Military Aviation gallery came through the laboratory for treatment. Their homemade appearance was confirmed by Janelle Batkin-Hall when she discovered that they were made of black rubber and were created in Vietnam by the Viet Cong and civilians in the 1960s.  Further investigation revealed that the soles were crafted from recycled truck tires, with the tire tread serving as the sole of the sandal, evident by the zig-zag pattern. Further indication suggesting the use of tires emerged through Janelle’s examination, when she identified beige-colored thread-ends visible along the outer edge of the sole. The thread was part of the tire's internal structure, reinforcing the rubber and providing strength and stability to the sandal. Working with the curator and designer, it was suggested that the sandals would be mounted so Museum visitors could see both sides of the object, one up and one down, so their unique story would be

December: The Life of An Artwork

The Flight and the Arts Center will be full of surprises around every corner, presenting paintings, prints, photographs and sculpture. Conservator Deborah Parr has been working with the curator, gallery designer and the exhibits department to examine, treat, frame and re-glaze over 70 artworks scheduled for display. Part of her research included finding alternative framing materials to meet the newly renovated building fire codes while keeping with the aesthetics of each piece. Deborah teamed up with the Education department and curator to produce a short film that will be available to middle-school aged students titled, “The Life of an Artwork”, detailing how a print is acquired, conserved and framed, and highlighting the work undertaken by Museum staff before visitors see artwork on exhibit. The film will also include an examination of the work of Robert Rauschenberg, an American artist whose earliest works anticipated the Pop art movement, in conjunction with the upcoming exhibition. highlighted in the gallery, allowing visitors to witness an innovative field solution when resources were scarce.