In addition to X-radiography, XRF, and FORS--techniques inherently non-invasive--other non-sampling techniques, including hyperspectral imaging (HSI), have been adapted to understand artistic materials and methods [8]. However, myriad questions, including the organic composition of an artifact, the crystalline structure of a solid, or the degradation state of a polymer, often require sampling, which may prove undesirable or challenging. Enhancements in the spatial resolution or sensitivities in detectors through the years have led to micro-scale analytical techniques, including FTIR, Raman, and XRD, opening up these methods for use when sampling is allowed as the sample size required for measurement is microscopic. The development of ambient ionization techniques has permitted certain objects to be characterized without sampling at all [9; 10]. Sorbent sampling methods have been harnessed to sample the airspace around art, identifying chemicals and pollutants harmful to collections [11]. Another compelling issue relates to accessibility, which in the field of cultural heritage research manifests in several forms. One way to increase accessibility is the optimization of analytical tools to create digital twins, providing virtual access to physically inaccessible sites and facilitating the preservation of invaluable objects [12]. Another aspect to be considered, from a methodological point of view, is the need to access artifacts that cannot be removed from conservation studios, museum galleries, or storage: in this regard, the availability of movable, portable, and handheld equipment is crucial for in-situ analytical campaigns [13; 14]. The microfade tester (MFT), one of the few true inventions in the field [15], has recently been redesigned improving its portability. Although these significant advances have led to the successful analysis of immovable or cumbersome heritage objects, certain types of instrumentation continue to be available in benchtop format only; therefore, developing portable equipment remains an ongoing area of opportunity for the field. Collaborating with experts in other scientific areas has provided opportunities to harness technologies useful to the cultural heritage community. For instance, the Library of Congress (USA) worked with the National Aeronautics and Space Administration (NASA) to develop a method to mass deacidify books [16]. This concept was later augmented by digitization technologies when Yale University collaborated with the Xerox Corporation, allowing books to be scanned directly into the digital sphere [17]. A collaboration involving the use of high-throughput technology developed at The Dow Chemical Company made it possible to determine ideal solvent systems to clean paint films [18]. In Europe and the United States, the ever-increasing use of synchrotron radiation to aid technical studies, made possible by the implementation of shared facilities' international access programs, has pushed the limits of micro-analysis, enhancing current scholarship in the fields of art and archaeology while prompting numerous exciting discoveries into the materials used by artists and studio practice [19; 20]. Despite increasingly rapid advances in available technology and methodological approaches, day-to-day work in the cultural heritage arena poses a series of unique challenges that are yet to be satisfactorily fulfilled, owing mainly to the small population of scientists working in the field and their requirement to meet the needs of home institutions. Addressing research queries becomes more complex if considered in the context of the global challenges that affect the preservation and enjoyment of artifacts of archeological, historical, and artistic significance--such as climate change and environmental sustainability--prompting the need for answers based on a systematic scientific approach and the use of the most advanced digital and technological resources available today.