Soru

Passage A
The primary goal of art conservation must be the recovery of the creator's original vision. Centuries of accumulated grime, overpainting by lesser artists, and misguided previous restorations obscure the true masterpiece. Advanced spectroscopic techniques now allow conservators to accurately determine the exact pigments and varnishes used by the original master. By meticulously removing later accretions, we do not erase history; rather, we rescue the artwork from the distortions of time and present it as the artist intended it to be experienced. To leave later additions intact out of a misguided reverence for the passage of time is to elevate the artifact's subsequent history above its intrinsic aesthetic value at the moment of creation.

Passage B
The current trend toward "purist" restoration—stripping artworks down to their presumed original state—is fundamentally flawed. An artwork is not frozen in time at the moment it leaves the artist's studio; its journey through centuries is integral to its identity. Later additions, repairs, and even the natural patina of aging are historical documents in themselves, revealing how previous generations interacted with and valued the piece. Furthermore, the belief that we can perfectly recreate the "original" state is often a hubristic illusion. So-called original restorations often reflect contemporary aesthetic preferences far more than true historical accuracy. By aggressively erasing the physical evidence of an artwork's history, conservators destroy an irreplaceable record in pursuit of an idealized past.

Which one of the following most accurately describes a point of disagreement between the authors of the two passages?