Just as lasers have found applications in entertainment, science, industry, and medicine, numerous real and potential uses for lasers in art-conservation analyses and practice have been investigated over the past three decades. Initially, these included archival holographic recording, holographic non-destructive testing (NDT) of statues and paintings, laser-induced ultrasonic imaging of frescos and paintings, laser scattering for surface characterization of paint layers, photoacoustic spectroscopy (PAS) of pigments and varnishes, atomic and molecular microprobe analyses of artwork surfaces (e.g., LIBS), surface modification of stone, laser-induced chemistry (LIC), and surface divestment of art materials from leather to stone. In recent years, this list has been extended considerably. It now includes 3D replication, Raman spectroscopy and mapping, laser-induced fluorescence (LIF) detection and imaging, object repair through laser cutting and welding, laser-doppler techniques for the study of surface motion in order to discern internal features, and laser ranging for contour mapping. Twenty-five years ago, laser divestment/cleaning was, by widespread consensus of the conservation community, the least plausible laser application in art conservation. This attitude was fostered by several circumstances. Foremost, was a general ignorance of laser technology and its potential. Second, were genuine problems with laser reliability, cost, and maintenance. Third, were technology limitations in available wavelengths and beam director options. However, after 20 years of research and development, laser divestment (principally for stone) emerged to dominate all the other initial and latter applications noted above. In light of the current widespread acceptance of radiation-induced divestment (brought about by its practical successes), it is a propitious time to revisit and review those that overshadowed early alternative laser applications in terms of their histories, status, and prognoses. Subsequent advances in laser science and technology (as well as in associated computer systems for digital signal processing and laser control) will enhance and facilitate the practical uses of those other early opportunities for lasers in art conservation. Toward this end, the initial endeavors in exploring and assessing the utility of these tools for art conservation are recounted. Together with the manifest success of laser cleaning, both in the conservation laboratory and in the field, this review may serve to reinvigorate interest in these powerful scientifically established technologies and extend their application and acceptance to the broader art-conservation community.