With twenty five of Mondrian's works spanning from 1902 to 1944, the Museum of Modern Art holds the most comprehensive collection of paintings by Mondrian in North America including oil paintings, watercolors, drawings, and prints. For the last 6 years, Cindy and the Museum's conservation department has continued to utilize ever developing technology to study Mondrian’s sixteen oil paintings through examination, documentation, technical analysis, re-treatment, and inter-museum collaboration with colleagues such as conservators and curators at the Gemeentemuseum Den Haag. Technical examination including imaging, X-radiography, Reflectance Transformation Imaging, and X-ray fluorescence spectroscopy with multivariate analysis have been carried out on the majority of the collection.
She has presented her research through posters included at the 2012 ICOM-CC Symposium: "Issues in Contemporary Oil Paint", as well as at the Fifth International Conference on Synchrotron Radiation in Art and Archeology in 2013.
At the American Institute for Conservation's 42nd Annual Meeting in 2014, Cindy gave a presentation that including stratigraphic elemental palette information, transitions in Mondrian's type of paints and medium, a plethora of compositional changes, as well as evolutions in his paint layering technique.
Her research on Mondrian's Composition No. V was recently included in an exhibit publication from the Gemeentemuseum Den Haag: Mondriaan en het kubisme: Paris 1912-1914.
In May 2015, she and MoMA conservation scientist Ana Martins presented additional research carried out on Mondrian's most monumental and masterful painting of his career: Broadway Boogie Woogie. Technical examination included imaging, X-radiography, and Reflectance Transformation Imaging (RTI). Macro X-ray fluorescence spectroscopy (MA-XRF) combined with Multivariate Image Analysis (MIA) was used to simultaneously identify and map the different pigments and paints used in Broadway Boogie Woogie. The spectral information collected over the whole painting revealed the presence of key elements representative of pigments, fillers, and in some cases their source or manufacturing process. MIA was used to further elucidate the composition of the paints by examining the correlation between the different elements present. Mapping the elements based on the MA-XRF analysis as well as mapping the pigments and paint components based on the MIA analysis on the other hand helped visualize the artist process including the extensive reworking and repainting of the surface.