noticed for some time. Invariably, displays are set up hastily and cataloging is bypassed unduly abbreviated. Its important not only to list holdings but also to assess them qualitatively. (Burrows, p. 34, 37)Consider what is likely to happen to it:When one is considering the likely possibilities of what might happen to the pieces of artwork, they must regard what is likely to happen to the assets, imagination and historical searching are needed. (Burrows, p.37) In these searches one should examine what tendencies were shown in the previous thefts. They should also think of other possibilities that could happen. Consider theft, vandalism, publicity-seeking, fire, and water damage. Of course, many incidents are not publicly reported. Museum management fears lost sponsorship, increases in insurance costs, and nervousness among potential lender and exhibitors. Unfortunately, those fears are well-founded. They are part of the hidden cost of crime. Reducing the likelihood of those ill effects is part of what one earns by implementing security. (Burrows, p.37)Consider action to counter the threat:Counter-action is the main ingredient in successfully preventing art theft. In this step one must examine how to property staff the place where artwork is being stored and what type of security systems will best suit this place. Staffing is undoubtedly one of the crosses that security has to bear. In Boston, police were allowed access to a museum without external verification. They then robbed the museum. (Burrows, p.37) Because of the opportunity of theft coming from security guards or from the inside, others measures must be taken too. Mindful of that problem, many galleries include in their standard operating procedures instructions to telephone a police station before officers are admitted. Nevertheless, security staff invariably let them in unchecked. (Burrows, p.37) The strictness of security in museums and auction houses are greatly proportio...
