I do quite a bit of the type of work, both in-situ for exhibitions and in studio for reproduction purposes. For some works, in studio, cross-polarization is the only solution in order to control reflections; control is the important word, as eliminating all reflections can render a textured work such as an oil or acrylic painting into a flat lifeless reproduction. Colour accuracy is another matter. No matter how you adjust for colour temperature and include a colour checker shot, the end result will not be exactly what the original work looks like by itself. With normal photographic equipment, you can get close, even quite close but never exactly match the work's colours. And if the end result is a cmyk publication you have a whole slew of additional restrictions. A Pantone to cmyk swatch book is my friend when trying to explain the issue to artists. In spite of all this, it is a lot easier to do this work digitally than it ever was with film!
For critical work, I try to get the artist to be present when I do final, final-final, and final-final-final tweaks to images before biting this into publications.