It is easy to lose sight of the bigger picture when one is focusing only on tiny residues of past polychromies on stone monuments. Throughout this book, I have tried to offer a set of methodological approaches and scenarios that I think offer fruitful avenues to think about and study the polychrome past of the Achaemenid Persian Empire and the sites of Persepolis and Susa in modern Iran in particular. In this final chapter, I would like to contextualize modern research on pigments, paint, and color in Achaemenid Persian art again, this time in the context of more recent imperial polychromies, later interpretations, ethical approaches, and in the global world of responsible stewardship.