Why was the ancient wine cup moved?

Choices:
A. Because curators wanted to examine it
B. not enough information
C. Because curators thought it was exquisite
D. Because of reinstallation of an exhibit
Because of reinstallation of an exhibit
Normal practice when handling ancient artifacts is to move carefully and minimize any sudden movements. Shaking the object is definitely not encouraged.
But that’s exactly what we—a group of museum curators and conservators—did when this exquisite Greek black-glazed kantharos (wine cup) was temporarily removed from display during the reinstallation of the Getty Museum’s antiquities collection at the Getty Villa. One of just a handful of “rattling cups” that survive from the fifth and fourth centuries B.C., we wanted to learn more about how it was made.(1) Although we were eager to find out what was below the surface of the cup, we started by examining its exterior.
The kantharos’s distinctive shape, with profiled lip, tall foot, and elegant, upward-sweeping handles, is characteristic of black-glazed pottery made in the second half of the fourth century B.C., and replicates the form of luxury vessels in metal. Although the cup is currently catalogued as South Italian, the shape—and its striking decoration—are also typical of Athenian manufacture, and it may in fact have been produced there.(2) During the fourth century B.C., Athenian pottery was both imported into southern Italy and imitated by local craftsmen. The best South Italian versions were meant to be difficult to distinguish from Athenian examples, and we are continuing to investigate where ours may have been made.
A Greek inscription applied in gilt around the rim reads: ΚΑΣΤΟΡΠΟΛΥΔΕΥΙΚΕΣ (“KASTORPOLYDEUIKES”). Kastor and Polydeukes were twin sons of Zeus—known together as the Dioskouroi—and were worshipped as protectors of sailors, horsemen, and chariot racing.(3) The inscription indicates that the kantharos was dedicated to them, perhaps as thanks for—or in hope of—safe passage at sea or a successful race. The gold decoration supports this idea: because each brother split his time between Mt. Olympus and Hades, they were often represented by stars, depicted here beneath the cup’s rim. Further, the wreath, garlands, and bucrania (skulls of sacrificial bulls) decorating the cup’s body all evoke religious ritual. Although a common decorative motif in ancient Greek art, the band of running waves must also have reminded viewers of the gods’ special role as saviors of seafarers.