 An undertaking of the restoration team was that everything would be handled in a transparent fashion, that reporters, art historians and others with a bona fide interest should have ready access to information and to view the work.However, a single company, Nippon Television Network Corporation, had sole photography rights.Michael Kimmelman, chief art critic of "The New York Times", wrote, in 1991, that the criticism of the restoration of the ceiling and lunettes was in part fuelled by the Nippon Television Network's reluctance to make public those photographs that they had taken by exclusive right, which had recorded every stage of the process and which were the only solid evidence that the work was being done appropriately.