Our main task was to suspend the ongoing deterioration and to make it possible to exhibit the piece. During the work, the classic archaeological textile conservation methods were used, as well as the techniques to treat tempera paintings and graphics.

The biggest challenge during the first stage of the work was to remove the XIX century lining. A large amount of gypsum contained in the pigments made it impossible to use water-based solutions. For several months, the conservators had been removing the lining millimetre by millimetre with special spatulas.

The fabric of the shroud free of the old lining was transferred to a smooth surface. After that, the deformations were mended. It was quite challenging to decide on the consolidation solution. After the numerous trials, it was decided to consolidate the remaining image with fluorine-based solution.

The shroud was then lined again, this time with dense and translucent Indian cotton. Microscopic examination and the detailed research of similar images on other shrouds and Fajum portraits helped to make a reconstruction of the woman's face and the overall composition of the shroud. The face was printed on a special fabric and placed under the remaining fragments of the shroud.

A computer reconstruction of the shroud was made, that shows what the it might have looked like when it was created.

After the conservation treatments were finished, the shroud was put in a specially made frame. To minimize the harmful effects of the environment the piece was covered with a museum glass (plexi).

The project was successfully finished in April 2016. At the moment, the shroud is exhibited in the Room 6 Hellenistic and Roman Egypt, Coptic Art, in the main building of the museum.