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As a contribution to the field of valuation studies this article lays out a number of lessons that follow from an exploratory inquiry into ‘good tomatoes’. We held interviews with tomato experts (developers, growers, sellers, processors, professional cooks and so-called consumers) in the Netherlands and analysed the transcriptions carefully. Grouping our informants’ concerns with tomatoes into clusters, we differentiate between five registers of valuing. These have to do with money, handling, historical time, what it is to be natural, and sensual appeal. There are tensions between and within these registers that lead to clashes and compromises. Accordingly, valuing tomatoes does not fit into inclusive formal schemes. Neither is it simply a matter of making judgements. Our informants told us how they know whether a tomato is good, but also revealed what they do to make tomatoes good. Their valuing includes activities such as pruning tomato plants and preparing tomato dishes. But if such activities are meant to make tomatoes good, success is never guaranteed. This prompts us to import the notion of care. Care does not offer control, but involves sustained and respectful tinkering towards improvement. Which is not to say in the end the tomatoes our informants care for are good. In the end these tomatoes get eaten. And while eating performs tomatoes as ‘good to eat’, it also finishes them off. Valuing may lead on to destruction. An important lesson for valuation studies indeed.

Paintings in museums might occasionally be replaced by a photoprint mimicking the original. This article is an investigation of what constitutes a good reproduction of an artwork (oil painting) that is meant to be displayed. The article discusses what the usefulness of reproductions depends on, applying the Valuation Studies approach, which means the primary concern is with the practice of valuing itself. In other words, the study focuses on how museum experts evaluate reproductions of oil paintings. The article analyses three cases of displaying digitally printed copies of Edvard Munch's oil paintings between 2013 and 2015 in the Munch Museum and in the National Gallery in Oslo. The study is based on a series of semi-structured interviews with the experts, working at and for the museums, that were involved in producing and exhibiting of the photoprints: curators, conservators, museum educators, and external manufacturers. The interviews were grouped into five clusters, which I have chosen to call registers of valuing following Frank Heuts and Annemarie Mol (2013). The described valuation practices have to do with delivering experiences to the public, obtaining mimetic resemblance, solving ethical aspects, exhibitions' budget, and last but not least, with the time perspective. [ABSTRACT FROM AUTHOR]

Paintings in museums might occasionally be replaced by a photoprint mimicking the original. This article is an investigation of what constitutes a good reproduction of an artwork (oil painting) that is meant to be displayed. The article discusses what the usefulness of reproductions depends on, applying the Valuation Studies approach, which means the primary concern is with the practice of valuing itself. In other words, the study focuses on how museum experts evaluate reproduc-tions of oil paintings. The article analyses three cases of displaying digitally prin-ted copies of Edvard Munch's oil paintings between 2013 and 2015 in the Munch Museum and in the National Gallery in Oslo. The study is based on a series of semi-structured interviews with the experts, working at and for the museums, that were involved in producing and exhibiting of the photoprints: curators, con-servators, museum educators, and external manufacturers. The interviews were grouped into five clusters, which I have chosen to call registers of valuing following Frank Heuts and Annemarie Mol (2013). The described valuation practices have to do with delivering experiences to the public, obtaining mimetic resemblance, solving ethical aspects, exhibitions' budget, and last but not least, with the time perspective.