My name is Antoneil Lyne.

I am the chief preparator here at the New Museum.

As the chief preparator, I work in the intersection between art, logistics, installation, and all the preparatory elements that go into putting up the show.

Mondays are usually busy for us, because it's a lot of paint touch up.

A lot of stuff needs like constant maintenance.

This is "Tumbler" by Steffani Je Every Monday we have to, like, change out the water and change the grit and wash it out and retape it and make sure it's working.

We want to seal it properly because you know it's around other works.

Little test.

Make sure there's no leakage.

Cuz, you know, we're human, we all make errors.

As you turn it over, you put your course, your medium, and then you finish with a polished grit to get a beautiful, smooth surface.

Sometimes there's some early mornings, some late nights.

We do come in and, you know, walk through the entire gallery, make sure everything is up to par.

And we try to, you know, take stock of every work.

We walk through - even if it's a painting or something that doesn't really require turning on, we still try to walk through and pay attention to what a visitor might come in and see.

And we want to make sure it's to the top quality.

This is the "House of Dust Edition" from 1967 by Alison Knowles.

There's this continuous paper that we have to, like, make sure is running properly, because this has a potential to get jammed.

It takes usually 45 seconds or so to kind of go through its proces and start up.

Hopefully it likes me today.

So once we're at a certain point where it's too much, we take some of the paper away.

I want to leave a little bit of the paper so that it doesn't feel empty back there.

And we're trying to store all of them for the artists in the gallery.

So we, you know, keep it for their archives and their records.

Goes behind the secret door.

As a preparator, we like things as, I don't want to say the word easy, but as simple as possible.

For us, preparation involves making sure everything is wired, so it's just like a clap on and it's all on.

Some stuff is not like that.

Like this piece right here beside me is not like that.

It's one has to, like, be manually turned on and off and, you know, takes a little bit more care.

One there.

On there.

We're here with this piece by Berenice Olmedo.

You have to put it in the exact position every time you turn it on, to keep it in a fluid motion, that the legs are touching the ground fully.

And you have to make sure all the strings are loose and not going to get caught.

If not, you'll have it float in and it'll do like an air walk on the ground, which doesn't look as appealing as it actually walking on the ground.

So it gives it more of a human quality while it floating a little bit more naturally.

There you go.

My role is very collaborative.

I'm one person, and this is a big museum, and I would be a fool to say that I did this on my own.

I do have to like big up our preparators that are working part time.

All the preparators throughout New York City, because there's a big group of them, and they don't get as much shine as they usually should.

A lot of the shows throughout the entire city would not happen without preparators.

And if we do our job right, then our work is barely noticeable.

I feel good when no one knows I was here.