Collector’s Guide to the Preservation and Longevity of Max Zorn’s Tape Art
Introduction
Max Zorn’s tape art transforms ordinary packing tape into illuminated artworks – a medium that was historically considered fleeting and not built to last. Early tape art pieces (often stuck on street surfaces or lamp posts) were meant to be ephemeral, peeling away after a short time. Zorn has overcome this limitation by using museum-grade archival practices to bridge the gap between ephemerality and long-term preservation maxzorn.com. In other words, he deliberately crafts his pieces for durability and longevity. Every aspect of the artwork – from the tape materials used to the way the piece is sealed and framed – is designed to ensure it remains as vibrant and intact years later as it was on day one. This guide explains the science and conservation measures behind Zorn’s tape artworks and how they achieve such remarkable durability, with references to materials science and museum conservation standards for backing up each point.
Materials and Layering Technique
Tape Medium: Max Zorn works with high-quality brown packing tape that uses an acrylic-based adhesive on a polypropylene backing (often called BOPP tape). Brown packing tape is essentially a biaxially-oriented polypropylene film with a strong pressure-sensitive adhesive. This material is known for its toughness, slight translucency, and long-term stability. Zorn cuts and layers this tape on a thin sheet of transparent acrylic glass (plexiglass), building up to 15 or more overlapping layers in the darkest areas to create depth and shading. The amber-brown tone of the tape produces a warm sepia effect, akin to vintage photographs, when light shines through it. This multi-layer technique allows fine gradations of light and dark in the illuminated image, giving his pieces a striking, cinematic quality. Importantly, Zorn’s choice of tape is guided not just by aesthetic, but by archival durability: the polypropylene (BOPP) backing is chemically inert and contains no plasticizers (unlike PVC-based tapes which can leach harmful chemicals), and the acrylic adhesive is highly resistant to oxidation and UV light (unlike cheaper rubber-based adhesives that can yellow or become brittle over time) conservation-wiki.compreson.com. In conservation guidelines, polypropylene and other polyolefins are preferred for their stability, whereas PVC is explicitly listed as a material to avoid due to its tendency to off-gas acids and degradeconservation-wiki.comconservation-wiki.com. Likewise, acrylic polymer adhesives are favored for long-term use since they do not oxidize or darken significantly, whereas rubber-based adhesives are known to deteriorate and lose effectiveness with ageconservation-wiki.compreson.com. By using a tape with an inert plastic backing and a UV-stable adhesive, Zorn ensures the very foundation of his art – the tape itself – will not be a weak link in the artwork’s longevity.
Sealed Tape Layers: Once the image is complete (with all the brown tape pieces arranged on the plexiglass), Zorn seals the entire tape surface with a sheet of clear heavy-duty packing tape. This final clear layer acts as a protective laminate, covering all the cut edges and surfaces of the brown tape design. The result is an airtight encapsulation of the tape artwork – much like how tape is preserved when it’s still on its fresh roll, no air can penetrate between or under the tape layers once sealed. In essence, the laminated surface is as airtight as the original tape roll, locking out dust, humidity, and air from reaching the layered tape beneath. According to the artist, each artwork is “meticulously sealed, preventing environmental factors such as humidity, oxygen, and pollutants from compromising the adhesive quality of the tape.”maxzorn.com By eliminating exposure to oxygen and moisture – two major causes of tape degradation – this sealing step greatly slows any aging of the adhesive. The tape layers underneath remain in the same condition as when they were applied, because they’re not interacting with ambient air or humidity. Chemically, acrylic adhesives and polypropylene film are quite stable if kept in a neutral, oxygen-poor environment; the clear over-tape creates exactly such an environment by forming a barrier that prevents oxidation or water vapor ingress. The adhesive between layers stays tacky and flexible, instead of drying out, since it’s not being continually exposed to air or fluctuating moisture. Essentially, Zorn’s sealing method puts the tape art in stasis, halting the typical drying or embrittlement that unprotected tape would experience over time.
Multi-Layer Sandwich Construction: After sealing the layered tape image on the plexiglass sheet, the entire panel is flipped around for display. The viewer ultimately looks through the clear acrylic sheet at the tape image from the reverse side. This means the tape itself is now on the back side of the front acrylic panel (with the clear laminate layer behind it), and the front viewing side is just smooth plexiglass. Zorn then mounts the artwork by pressing this assembly between two rigid sheets to create a tight sandwich: typically a milky-white acrylic panel or diffuser goes at the back (to help spread the backlighting evenly), and a UV-resistant clear museum acrylic or glass panel is added to the front (the viewing side). The tape artwork is thus literally encased between sheets of acrylic glass, protected from both front and back. The pressure of this sandwich keeps all the tape layers perfectly flat and immobile, preventing any physical peeling, curling, or wrinkling. In essence, the finished artwork becomes a single solid panel – there are no exposed tape edges or corners that could snag or lift. This structural support is crucial for long-term stability: by immobilizing the tape and shielding it behind plexiglass, the risk of mechanical damage or environmental exposure is minimized. The rigid acrylic sheets also add a layer of security against fluctuations in temperature and humidity, since the enclosed air space and the plexi itself act as buffers. The completed piece, therefore, is not just a collection of tape strips on plastic; it is a fully laminated and framed unit akin to a sealed artifact, built to withstand the tests of time and handling.
Protection from Air, Humidity, and Pollutants
One of the biggest enemies of adhesives and plastics over time is the environment: oxygen in the air can oxidize materials; humidity can weaken adhesives or promote mold; and atmospheric pollutants (like acidic gases, sulfur compounds, or ozone) can trigger chemical degradation. Zorn’s preservation method directly counters these threats by essentially isolating the tape from the external environment:
Airtight Sealing: As described above, the entire tape surface is sealed airtight under a clear laminate. This means environmental oxygen, carbon dioxide, and pollutants are kept out of the tape layers. The adhesive is not exposed to air that could cause it to dry out, oxidize, or become brittle. This approach mirrors archival conservation techniques – for instance, museums often keep delicate documents or photographs in sealed enclosures to slow their aging by limiting contact with air. Zorn has effectively done the same for his tape art. The studio’s own documentation notes that each piece is sealed off to prevent humidity and oxygen from drying or degrading the adhesivemaxzorn.com. By removing ongoing oxygen exposure, one of the primary drivers of polymer and adhesive deterioration (oxidative breakdown) is largely halted. The tape’s stickiness and flexibility remain as originally intended because the adhesive isn’t slowly reacting with oxygen or other gases.
Humidity Control: The airtight encapsulation also blocks outside moisture from reaching the tape. Any humidity present between layers is minimal (the work is assembled in a dry indoor environment), and once sealed, no new moisture can enter the interlayer spaces. This is critical because water can plasticize or weaken many adhesives and can contribute to biological issues (like mold) or delamination. With Zorn’s method, long-term damage from humidity is essentially eliminated – the tape’s adhesive stays dry and secure. Furthermore, the acrylic panel sandwich provides an additional vapor barrier. Both acrylic and glass have low water vapor permeability, so enclosing the art in these materials keeps the internal microclimate stable even if the room’s humidity fluctuates. The net effect is that the tape art isn’t subject to seasonal dampness or dryness cycles. Its adhesive doesn’t get intermittently softened by high humidity or embrittled by extremely low humidity; it remains in a Goldilocks zone consistently. This kind of moisture protection is a standard in conservation-quality framing, and here it’s integral to the artwork’s design.
Pollutant Shielding: The sealed layers and acrylic enclosure protect the artwork from airborne pollutants such as dust, acidic gases (e.g., sulfur dioxide, hydrogen sulfide), and ozone. Urban air pollution and even household fumes can, over years, cause sensitive materials to discolor or corrode. For instance, ozone is notorious for cracking rubber and certain plastics, and sulfur dioxide or other acidic pollutants can attack adhesives or pigments. In Zorn’s tape art, the microclimate inside the artwork is essentially clean and inert – dust can’t get in, and corrosive gases are largely locked out. The mention of CO₂ in some descriptions is interesting: carbon dioxide by itself isn’t highly reactive with tape, but its presence could indicate air exchange. In any case, by sealing the piece, Zorn prevents not just CO₂ but the whole mix of outside air from circulating around the tape. This isolation means the tape layers will not slowly absorb pollutants that could lead to yellowing or embrittlement. In effect, the tape art is stored in its own little vault. Preventive conservation in museums often strives for exactly this – to keep artifacts in controlled atmospheres – and Zorn’s artworks achieve that level of protection inherently by design. The tape layers exist in an archival storage condition even while the piece is on display in your living room. This is a key reason why the artworks remain so resilient and “fresh”-looking over time: the usual environmental causes of aging have been proactively shut out.
By addressing the major environmental factors – oxygen, humidity, pollutants – Zorn has neutralized the primary causes of adhesive aging. Decades from now, a well-sealed tape artwork should be in essentially the same chemical state as it was shortly after creation. This preventative approach is far more effective than trying to restore or fix damage later; it essentially prevents the typical degradation pathways from ever starting.
UV Light Protection
Ultraviolet (UV) light is notoriously damaging to both adhesives and plastics, as well as to many art materials (dyes, paper, etc.). High-energy UV photons can break chemical bonds, leading to fading of colors, yellowing of clear materials, and brittleness in polymers. Max Zorn preempts this threat by incorporating UV protection into the framing of his tape art. Every piece is framed behind UV-blocking acrylic glass on the viewing side. This museum-grade acrylic (often marketed under names like Acrylite OP3 or Plexiglas UV100) looks like ordinary clear glass/acrylic but has special additives that filter out the vast majority (typically 98% or more) of UV radiation. According to the studio, an additional UV-resistant acrylic glass is added “that not only protects the artwork from fading due to sunlight” but also from UV-induced damagemaxzorn.commaxzorn.com. This ensures that the warm brown tones of the tape remain stable and do not bleach out even if the piece is displayed in a brightly sunlit room. The brown packing tape itself has good lightfastness (being essentially a pigmented plastic film), but any prolonged exposure to unfiltered sunlight could potentially cause even robust materials to change over time. With the UV-filter in place, the artwork only receives the visible light needed for illumination, and not the harmful UV wavelengths.
The UV shielding protects more than just color: it preserves the physical integrity of the tape and adhesive. Polymers like polypropylene (the tape backing) and acrylic adhesive can degrade under intense UV – often this manifests as yellowing, embrittlement (becoming crispy or cracked), or loss of adhesion. By blocking UV, Zorn safeguards the tape’s flexibility and clarity for the long term. Even the clear sealing tape layer benefits, since many clear plastics would turn yellow if bombarded with UV for years. Essentially, the entire assembly is bathed only in gentle, filtered light. This approach is analogous to how museums frame paper artworks or photographs behind UV-filtering glass to prevent light damage; Zorn has built that same level of care into each piece from the start.
In summary, UV light – one of the major aging accelerants for art – is effectively eliminated in Zorn’s framed works. Collectors don’t have to worry that the translucent sepia palette will gradually wash out, or that the tape will mysteriously degrade due to sunlight exposure. Even if you hang the artwork in a bright room or near a window, the UV-protective acrylic panel will significantly cut the UV reaching the tape. (Of course, it’s still wise not to subject any artwork to direct sun for long periods, as even visible light causes slow fading in many materials – but the UV is the worst, and here it’s essentially gone.) The UV-blocking panel also has the side benefit of being optically stable itself: high-quality acrylic sheets are engineered not to yellow noticeably with ageconservation-wiki.com, so the protective glazing will remain crystal clear for decades. All told, this UV protection measure is a crucial part of making tape art – a medium once seen as ephemeral – into something collectors can confidently display like any fine art, without fear of stealthy sun damage.
Thermal Stability and Lighting
Heat is another factor that can deteriorate tape art. Excessive warmth can soften adhesives (causing tapes to slip or ooze) or conversely, prolonged heat can accelerate chemical reactions that cause brittleness. Max Zorn addresses thermal considerations in two ways: through the choice of cool illumination for his artworks, and through the insulating effect of the acrylic sandwich structure.
Cool LED Illumination: A signature of Zorn’s tape art is that it’s meant to be backlit – the layered tape image comes alive when light shines through from behind. To achieve this, each artwork is paired with a custom light box or LED panel that evenly backlights the piece. Crucially, Zorn uses LED (light-emitting diode) lighting, which runs very cool in terms of heat output. Unlike old incandescent or halogen bulbs, which convert a lot of energy into heat and UV, LEDs produce light with minimal infrared (heat) radiation and virtually no UV radiationnedcc.org. The LED strips or panels behind Zorn’s art emit a bright glow but remain only slightly warm to the touch. This means they do not heat the artwork even if left on for extended periods. The internal temperature of the light box stays close to room temperature. Zorn himself notes that the LED strips “won’t get warm and therefore can’t harm the work,” emphasizing that the illumination is safe to be left on continuouslymaxzorn.com. This is an important detail because it allows owners to enjoy the illuminated effect for hours on end without worrying about baking the art. In contrast, if one tried to backlight art with, say, a halogen lamp, the heat buildup could dry out adhesives or cause expansion and contraction cycles. With the low-temperature LEDs, such risks are eliminated. Moreover, since the LEDs emit no UV, they avoid the light damage issue as well – they provide only the gentle visible wavelengths that showcase the art, nothing more. Museums have increasingly adopted LEDs for display lighting for exactly these reasons: no UV, very little heat, and high energy efficiencynedcc.org.
In addition to being cool, the LEDs have an extremely long service life – typically rated around 50,000 hours, which is about 5.7 years of continuous 24/7 use. In normal usage, a collector might have the artwork lit for a few hours in the evening, meaning the LEDs will last for many decades before needing replacement. Zorn’s studio reassures that the LED system is designed for longevity and is modular, so in the unlikely event an LED strip or adapter fails, it can be replaced easily without affecting the sealed tape artworkmaxzorn.commaxzorn.com. This means the lighting component of the piece is not a limiting factor in the artwork’s lifespan. You won’t suddenly be left with a dark artwork or face a situation where lighting it risks damage. It’s built to be a permanent feature, just as the tape image itself is. Owners are encouraged to use the light liberally – the guide from Zorn’s team suggests one can leave it illuminated continuously if desired, or at least not feel the need to “ration” the light for fear of harm.
Insulating Panel Design: The way the artwork is constructed – taped on plexiglass and then sandwiched between acrylic sheets – also offers some thermal stability. Acrylic has a lower thermal conductivity than glass, so it doesn’t transfer heat quickly. If the room temperature fluctuates or if there’s a draft of warm or cool air, the interior of the artwork (where the tape is) changes temperature only slowly and moderately. The sealed air gap between the front and back panels further acts as insulation, much like a double-pane window. This buffering reduces the likelihood of thermal shock or rapid expansion/contraction affecting the tape layers. It also helps maintain an even temperature across the artwork. Localized heat sources (like a nearby lamp or sunlight patch) will be partially mitigated by the acrylic layers spreading and dampening the heat before it reaches the tape. In practice, as long as you don’t mount the piece right above a strong heat source (like a fireplace or radiator), temperature shouldn’t be a concern. The tape’s adhesive is formulated to handle normal indoor temperature ranges (typically acrylic adhesives can endure up to around 80°C/176°F before significant softening, far above anything it will encounter in a home). By keeping the art in a typical climate-controlled room and using cool LEDs, Zorn has effectively removed heat stress from the equation.
Between the UV filtering and the low-heat lighting, the light that illuminates Zorn’s art is “clean” light – free of the damaging UV and heat components. This is an often overlooked aspect, but it’s critical in making an illuminated artwork archival. Light damage (fading, photochemical decay) is cumulative and irreversiblenedcc.orgnedcc.org, so using a benign light source ensures the tape image will look the same years down the line. And by avoiding temperature swings, the physical structure (the tape and adhesive) remains stable and secure. In sum, Zorn’s lighting setup adheres to conservation best practices (akin to museum display cases where only LED lights are used inside, specifically because they don’t harm the objectsnedcc.org). Collectors can thus enjoy the warm glow of a tape artwork without inadvertently causing it harm – the technical setup has already accounted for preservation.
Real-World Durability: Lessons from Outdoor Tape Art
While collectors will display Max Zorn’s art in comfortable indoor settings, it’s reassuring to know how robust these artworks are even under far harsher conditions. In fact, Zorn’s tape art journey began with outdoor installations: small tape “stickers” placed on public street lamps in cities like Amsterdam. These early pieces were directly exposed to the elements – sun, rain, wind, and snow – serving as a natural torture test for the medium’s longevity. The results have been remarkably positive, underscoring just how durable the combination of materials is when assembled properly.
Zorn has reported that some of his tape pieces stuck to streetlamp covers have survived outdoors for over a decade with little to no deterioration. In one interview, he remarked: “Don’t underestimate the nasty tape. That stuff is weatherproof.” He noted having tape stickers still up on lamps since 2011 that show no signs of damagewallhop.com. Consider the significance of that: a tape artwork left outside through blazing summers and freezing winters, through UV exposure and humidity swings, yet it remains intact and visually unscathed. Part of the reason is the inherent resilience of the materials – quality packing tape (especially with acrylic adhesive) is actually designed to be water-resistant and withstand a range of temperatures, since it’s meant for sealing boxes in various conditions. Polypropylene tape doesn’t dissolve in water; acrylic adhesive doesn’t wash away and remains sticky in both cold and heat (within reasonable limits). Zorn’s outdoor technique also cleverly leveraged the lamp itself as protection: he would apply the tape design on the inside of the street lamp’s glass or plastic cover, so the tape was lit by the lamp but not directly rained on. This meant the tape was shielded from direct weather by the lamp enclosure, creating a mini version of the protective sandwich (glass outside, tape inside) similar to his framed works. Even so, those pieces endured UV from sunlight and general outdoor air – and the fact they lasted so long attests to the intrinsic durability of the chosen tape medium and the effectiveness of sealing it down well.
For a collector, the takeaway is very comforting: if Zorn’s tape art can survive a decade in the wild, then in the controlled environment of your home it should last for many decades without issues. Indeed, Zorn’s studio explicitly states that “the works are going to last for decades to come” under normal indoor conditions and proper caremaxzorn.com. Collectors who acquired pieces years ago have observed that they look the same now as when they first got them – no yellowing, no peeling or bubbles, no color shift. This real-world track record, combined with the deliberate archival measures described earlier, gives a high degree of confidence in the artworks’ longevity. Zorn essentially future-proofed an inherently ephemeral medium. Whereas an unprotected tape on a wall would eventually dry up or fall off, a Zorn tape artwork in its sealed, UV-screened, climate-stable frame is not subject to those typical failure modes. It’s analogous to taking something fragile and putting it in the equivalent of permanent climate-controlled storage – except here the object can still be displayed and enjoyed normally.
It’s worth noting that not all “tape art” would automatically have this longevity. Zorn’s methods are what make the difference. If someone slapped ordinary hardware-store tape on a canvas and left it in the sun, it might deteriorate relatively quickly (years or even months). The combination of archival-quality tape, meticulous sealing, UV protection, and proper framing is what enables Zorn’s works to defy aging. In conservation terms, he addressed the potential inherent vices of the medium (tape’s tendency to fail) by eliminating the causes of those vices (environmental stressors). This approach is validated by how well even the unauthorized outdoor pieces have fared – essentially proving that the tape and adhesive can handle a lot when given a fighting chance. Indoors, under far gentler conditions, a Max Zorn original is built to be a lasting addition to a collection, not a temporary novelty.
Expected Lifespan and Care Recommendations
Considering all the protective measures in place – airtight sealing, UV filtering, cool LED illumination, and rigid encapsulation – Max Zorn’s tape artworks are engineered for maximum longevity. This art form is only about a decade old, so we don’t have century-old examples yet, but all evidence so far points to durability on par with or exceeding many traditional art mediums. By all accounts, there is no inherent perishable component in the artwork: the tape is stable, the adhesives are stable, and they are protected from external aging factors. In essence, the tape art is archivally conserved from the moment of its creationmaxzorn.com. Zorn has effectively applied the wisdom of conservation science (inert materials, protective enclosures, UV avoidance, etc.) to a medium that was once considered transient, thereby transforming it into a lasting form of fine art.
For a collector, maintaining the artwork’s condition is straightforward because most of the preservation work is “built in.” However, to ensure the piece remains pristine for decades, a few sensible care practices are recommended:
Display Conditions: Treat the piece as you would any fine art under glass. While the artwork is well protected from UV, it’s still best to avoid placing it in direct sunlight day after day. Indirect or diffused light is ideal (and the provided UV-filter panel will handle the rest). Normal indoor lighting or the included LED light box is perfectly fine. Also avoid extreme heat or cold drafts on the piece – for example, don’t hang it directly above a radiator or in an un-air-conditioned attic. The general rule is to keep it in a normal room environment that you find comfortable: roughly 65–75°F (18–24°C) temperature and around 40–60% relative humidity, if possible. The sealed design will buffer short-term fluctuations, but maintaining a moderate climate will ensure the outer frame and any non-sealed parts (like the wooden frame or backing electronics) also stay in good shape. Essentially, if you’re comfortable, the art will be comfortable.
Handling: The artwork comes as a finished framed panel – there is no need to open it or re-frame it. In fact, you should not disassemble the frame or try to peel the tape, as that would break the protective encapsulation. When moving or hanging the piece, handle it by the frame edges with clean hands or gloves, just as you would a valuable painting or photograph. The front is either acrylic or museum glass: avoid touching that surface with fingers to prevent smudges. If the front gets dusty or fingerprinted, you can gently wipe it with a soft microfiber cloth. If it’s acrylic (which is likely, since UV acrylic is often used), use a plastic-safe cleaner or just a damp microfiber – do not use glass cleaner with ammonia on acrylic, as it can cause fine cracks. Always spray any cleaner on the cloth, not directly on the artwork, to avoid liquid seeping at the frame edges. These are standard frame care precautions. Fortunately, the art inside is sealed, so even if a tiny bit of moisture did get in from a cleaning, the tape layers are still protected, but it’s best to be safe. Overall, minimal cleaning is needed; just occasional dusting of the outer surface.
Lighting Use: One of the joys of Max Zorn’s work is its illumination, and you should feel free to enjoy it regularly. The built-in LED lighting system is very energy efficient and emits no UV or heat, so it’s safe to leave on for long periods. You can use the light as a feature during gatherings or nightly if you like – there is no strict limit. The LEDs are rated around 50,000 hours of lifemaxzorn.commaxzorn.com, meaning even if you ran the lights 8 hours every single day, they’d last about 17 years! In practice, many owners turn on the piece for a few hours in the evening, which could stretch the LED life into multiple decades. Should the LEDs ever dim or fail, they can be replaced. Zorn’s studio provides support for this, and the LED strips are usually accessible in the frame without disturbing the tape image. Think of it like changing a light bulb in a lamp – it’s a separate component from the artwork itself. If you’re not sure how to do it, you can contact the studio or a lighting professional rather than attempting it yourself, but the key point is: the lighting is maintainable. It’s not like a one-use neon that dies and is irreplaceable; it’s built with longevity and serviceability in mind.
Monitoring: While no special maintenance is required, it’s always good as a collector to keep an eye on your artworks over time. Every now and then, inspect the tape art closely. Thanks to the protective design, you are unlikely to see any changes, but just be mindful of a few potential warning signs: if you ever notice bubbling or fogging under the surface, an edge lifting inside the frame, or unusual discoloration of the tape that wasn’t there before, those could indicate a breach or issue (though again, these are rare given the track record). If anything like that occurs, consult a professional art conservator or reach out to the artist’s studio for advice. In most cases, early intervention can fix a minor issue (for example, if an air pocket formed, it could possibly be re-sealed in a lab). However, to emphasize, such problems are not commonly reported with Zorn’s work – owners consistently say their pieces look the same as the day they got them, even after years on display. The robust construction is designed so that you won’t have to do any fixes or restoration. At most, you’re just checking that nothing has unexpectedly gone awry (just as one might check the back of a canvas for any developing cracks, etc., from time to time).
In conclusion, Max Zorn’s tape artworks are built to last and require only modest care to keep them in top condition. Through a combination of high-grade materials and archival framing techniques, the usual vulnerabilities of tape as a medium have been thoroughly addressed. The artworks are protected from all the major environmental aging factors – no UV, no moisture, minimal oxygen, and no thermal stress – which is why even pieces subjected to extreme conditions (like outdoor street lamp installations) have remained intact and vibrantwallhop.commaxzorn.com. Acquiring a Max Zorn original means you’re not just getting a transient experimental piece that might fall apart; you’re getting a well-engineered artwork that will retain its glow and detail for many decades. In the realm of art preservation, this is quite an achievement: many traditional mediums (paper, photographs, even some paintings) have inherent issues that require ongoing care and still inevitably age. Zorn’s tape art, by contrast, has been comparably fortified against time. As long as you handle and display it sensibly, you can expect it to look essentially the same years or even generations from now. It’s a marriage of street art creativity with museum-level conservation insight, resulting in a collectible that is both visually stunning and enduring. With basic care and a good display environment, a Max Zorn tape artwork will continue to shine – literally and figuratively – as a highlight of your collection, providing the same cinematic golden glow in the future that enchanted you on day one. maxzorn.comnedcc.org