from The New York Times -
Tall, Dark and Fragile
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The culmination of 8 years of research in an exhibition and perhaps a bit more technical information to go by, in so far as art conservation decisions are concern. However, to borrow a phrase from Einstein, the "perfection of means" does not necessarily bring us closer to the goal:

"[...] Reinhardt made himself readily available to repair paintings, or substitute fresh ones if necessary. When he offered to replace a damaged black painting in the Museum of Modern Art’s collection, curators balked. But we want our painting, they said. So battles over authenticity — over what constituted an original Reinhardt, or a particular Reinhardt, or an imperfect-but-acceptable Reinhardt — began during his lifetime and have grown knottier since."