Commercial Crating in Boston and MetroWest

Crating needs floor space and time before the move itself. Tell us where we can measure and build, whether tools and noise are allowed there, and when the piece stops being on display or in use. The vendor's release or the exhibit's closing comes first, and our building time follows.

Send the whole route: from where the piece stands to the loading door, and from the receiving door to its final room. Older Boston galleries and civic buildings often have smaller service doors and elevators than their rooms suggest, while newer Seaport buildings may need the dock booked. Either kind of building may ask for our insurance paperwork, which goes out ahead of the date. If a crate would be too big for the tightest turn, we plan separate crates for removable parts before building anything.

The key question is where the crate is allowed to touch the piece. A painted frame, a projecting exhibit detail, and an instrument's control panel each need pressure kept off them. The vendor or art contact marks the support points and no-contact surfaces, and the blocking and cushioning are built to those instructions, with loose parts held so they cannot rub the main piece.

The outside is marked with orientation arrows, the destination room, and handling notes. The crate moves as one unit on dollies or with the equipment its weight calls for, and the route is protected at both buildings. At delivery, it is set where your team says, and if the piece needs its registrar, conservator, or technician present for opening, we wait for them.