Joyce Hill Stoner is a professor of material culture at the University of Delaware, Director of the University of Delaware Preservation Studies Doctoral Program, and painting conservator for the Winterthur/UD Program in Art Conservation. Stoner was born in 1946 and grew up in the Washington, D.C., area. She graduated from College of William & Mary in 1968 and attended New York University, where she earned a masters in art history in 1970 and a diploma in art conservation from the Conservation Center in 1973. She earned her doctorate in art history from the University of Delaware in 1995. Stoner briefly taught at Virginia Commonwealth University before moving to Winterthur/University of Delaware in 1976. She has a long history with the J. Paul Getty Trust, including as a visiting scholar to and traveling with the Paintings Conservation Department in the 1980s, working as the managing editor of Art and Archaeology Technical Abstracts, and serving on committees with the Getty Conservation Institute (GCI). She has also been an interviewer and project director with the Oral History Archive Project for the Foundation for the Advancement of Conservation since 1975, as well as written and performed in many theatrical shows. This interview includes discussion about: growing up in the Washington, D.C., area; attending College of William & Mary, New York University, and the University of Delaware, as well as doctoral work on the treatment of James MacNeill Whistler's The Peacock Room; major developments in the field of art conservation, including training, literature, and technology; contributions of art conservators like David Bull, John Brealey, John Gettens, and George Stout; meeting husband Patrick Stoner and his career and studies in theater; teaching at Virginia Commonwealth University and then at Winterthur/University of Delaware since 1976; interviewing and conserving art for the Wyeth family; longtime association with the Getty Trust, including as an applicant, visiting scholar with the Paintings Conservation Department, as the managing editor of Art and Archaeology Technical Abstracts (AATA), serving on committees with the GCI, and receiving funding from the Getty Grant Program; history of AATA and FAIC's Oral History Archive Project; challenges in the field of art conservation, including sexism, diversification, and treatment controversies; ongoing theatrical work, which sometimes intersects with art conservation; the Getty's contributions to art conservation, including the UCLA/Getty doctoral program, supportive leaders and staff, and funding projects like the Panel Paintings Initiative.