Museum Security: The Art of Securing Pricelessness

Museum security is a kind of art form unto itself. A way to all at once create safety and accessibility. To bring us as close as possible to inspiration while preventing miscreants from stealing it.

September 01, 2004 — The art of museum security is no less profound than some of the masterpieces hanging in the space that needs protecting. It makes sense out of a paradox. To make works of art difficult to steal or damage—while at the same time allowing a connection between the masterpiece and the beholder—requires generous amounts of planning, some cool technology and a little ingenuity. We found someone with experience in all three: Steven R. Keller, principal of his own museum security consultancy and former executive director of protection services at the Art Institute of Chicago. We asked Keller to show us how he'd secure a priceless painting if money were no object. The security program he designed is comprehensive; it not only protects the work itself, but also the room it hangs in and the museum as a whole.

To give a sense of how in-depth Keller's program would be, consider the hierarchy he'd put in place to secure the museum's premises with surveillance, scanning and alarms: "First, I want to see everyone who walks in—with a good picture. And I want security checks of carry-ins there"—in other words, backpacks and purses. Second, he looks to service doors that aren't normally used. "I'd put a camera and an alarm there," he says, and then he'd install parcel controls to check the artwork and other stuff going through those service doors. "Finally, I'd button down the exteriors, doors and windows and grounds."

Staff security is next, since, as with any business, the inside job is the predominant threat. Keller would put in access controls with pass cards, and he'd create security clearance levels. And he'd perform background checks on all employees.

Click to the next page to see a graphic presentation of Keller's specific security plan for keeping this artwork safe from thieves, earthquakes and—perhaps the most challenging nemesis of all—the gaggle of 10-year-olds overtaking the museum on their fifth-grade field trip.