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This article focuses on Louis Pomerantz, a conservator. Pomerantz enrolled at the Art Students League in New York to pursue his goal of being an artist. He shifted his sights and returned to Europe to study conservation after serving in world War II. He worked as an apprentice under a private restorer in Paris, worked with the chief restorer of the Rijksmuseum in Amsterdam and studied at the Courtauld Institute. He also worked with Caroline and Shelden Keck in the U.S. before he was hired in 1956 by the Art Institute of Chicago to set up a conservation laboratory.

The article presents the final report on the activities of the Philadelphia project. It mentions that the history and changing role of Philadelphia's crafts, the experiences of women artist and artists colors, the stylistic approaches practiced, from the Philadelphia realist tradition to nonpresentational styles cross section as well as art education at the Philadelphia art schools and private clubs were among the topics covered by the documentation of the project including the filmed and unfilmed materials published in the "Art Related Archival Materials in the Philadelphia Region, 1984-1989 Survey." One of the contributors in the success of the project was Carl Zigrosser who finished literature at the Columbia University and wrote articles like Mauricio Lasansky (1960).

The article reports on documents loaned from Philadelphia by the Archives of American Art. The Archives filmed various materials from the Pennsylvania Academy of the Fine Arts which include student registers, student card index, and the Curator of Schools' office files, among others. They also compiled a comprehensive finding aid to the contents of the microfilm and archives. The archives loaned Henry O. Tanner's materials including documents about his legal battles with a Methodist Episcopal Church, and letters written to Sadie Tanner Alexander, his niece. Other documents borrowed include Louis Eilshemius' writings that document his studies at three schools, records of the Philadelphia Society of Etchers and the Mekler Gallery, and a complete run of "Art in Focus".

The article describes the life and career of Arthur B. Carles, one of the leading exponents of early American modernism. Carles studied at the Pennsylvania Academy of the Fine Arts from 1901 to 1907 and traveled to Europe on Cresson scholarships in 1905 and from 1907 to 1910. In France, he associated with Leo Stein, Alfred Maurer and Edward Steichen and was exposed to the latest developments in European modernism. The papers by Carles that were added to the Philadelphia Project of the "Archives of American Art Journal" include correspondence, miscellaneous painting lists, printed matter and photographs.

The article reports that the Archives of American Art's Art Documentation Project in Chester County, Pennsylvania in December 1987 focused on the collections of two local institutions, the Chester County Historical Society and the Chester County Art Association (CCAA), that document the county's inhabitants and their diverse activities. The CCAA was founded in 1931 to "promote knowledge, enjoyment and cultivation in fine arts through schools and instruction, books and publications and the establishment of a gallery." The Archives has filmed early records of the CCAA, which includes the charter and bylaws, lists of members and exhibition publications and photographs.

The article reports on art documents received by the Archives of American Art in Philadelphia. Promotional materials were received on the Art Council, an organization sponsored by the Young Men's/Women's Hebrew Association. The documents provide information on the organization's exhibits and artists involved. The archives was lent material for filming on Rembrandt Peale and accounts of his debt to Reuben Haines III. Materials were received on the Philadelphia Sketch Club and sketches of member artists. Documents on the works of sculptor George Gray Barnard were also received. An overview of the documents is provided.

The article reports on acceptance of papers and important documents by the Archives of American Art in Philadelphia, Pennsylvania in United States. These include Bernarda Bryson Shahn and Ben Shahn's project files on murals in New Jersey, New York, and Jamaica, and general correspondences on prints and exhibitions, Wharton Esherick's account books from 1920-1970 that has information on exhibition histories and index card files on individual works, materials and services, and galleries, and taped interviews on Ray Metzker, Robert Pfannebecker, Elizabeth Osborne, Charles Searles, and Don Camp.

The article presents news briefs regarding the Philadelphia Project of the Archives of American Art. The Archives has borrowed for microfilming, the papers of architect Thomas Ustick Walter, on architecture in general, as well as photographs, clippings and drawings. The institution has also performed an oral history with painter Jane Piper.

The article presents information on the Philadelphia Project of the Archives of American Art research institute, a program to seek out donations or loans of archives for microphotography from institutions in Philadelphia, Pennsylvania. Project personnel have contacted art dealers, art collectors, and the descendants of artists. Microphotography has begun on 140 letters written by art patron/collector James L. Claghorn and owned by the Philadelphia Maritime Museum. A scrapbook of photographs of architectural drawings are included in the City Hall Sculptural Ornamentation building's records. The Ladies' Art Association of New York's promotional material has been lent to the Archives.

The article provides information on the completion of Philadelphia Sketch Club second round filming. It mentions that the second round filming started in 1860 including the treasurer's reports, clippings, and five volumes of authographed photographs of club members are already completed. Letters to and from Thomas Eakins and Earl Shinn's letter addressed to Charles Hazeltine with regards to the New York exhibitions that they organizing are among the few pieces of correspondence present. Moreover, several collections for filming was lent by the Haverford College including the chemistry and physic classes' illustrated college notebooks, Haverford College alumni reunions' sketches, letters, and clippings termed Maxfield Parish Papers as well as Robert Browne Hanes letters.