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Since the 1970s, a continuous exchange of information about conservation between Europe and East Asia has greatly influenced approaches to the treatment of paper objects as well as the tools and materials used. This knowledge is often disseminated and absorbed in a purely practical manner, stripped out of its wider cultural context. However, what is considered 'appropriate' treatment is closely linked to how a particular culture has historically interacted with artworks and arguably the lack of broader cultural perspectives can lead to misguided assumptions in the evaluation of those practices. This article reflects on the differences between European and East Asian cultures of paper conservation. By taking into consideration the relevant cultural, philosophical and historical contexts, the article aims to explore how approaches to conservation, as well as to the profession itself, have developed in these two different parts of the world. It further encourages paper conservators to reflect on their own training and practices while offering an understanding of how these approaches can sometimes be mutually exclusive. [ABSTRACT FROM AUTHOR]