Well I think on the one hand you have the Steele Museum which was always there in a certain way. It was founded in 1815. It came to this side of the city in the 1870s but what has developed in the last decade. It's basically a Frankfurt tried to not reinvent itself but kind of made a strong move into being also a cultural hub. And what they've created was the Museum Riverfront. So basically plugging next to the Steele Museum, a lot of other institutions. So what you see right now is this kind of omphilad of museums along the river side is basically a really an invention of the 1980s. And the Schien Kunsthalder, the other institution that I'm also running, is also a child of that momentum. The Schien Kunsthalder Basin was one of the last major cultural institution buildings that they've done in the late 1980s and right now I mean it's located right in the city center next to the rumor. But the city government sits and the Liby House is again also an institution on the Riverfront. It's basically an old villa that was done in the 1870s and at the beginning of the 20th century was turned into a sculpture collection. The Steele is the oldest and most important private cultural foundation in Germany. So basically it stems from the last will of one single person, Yohan Friedrich Steele, who gave his whole fortune and his whole collection to the public in a way, with the will and his last wish that a museum should and the school should be done out of that. Obviously Yohan Friedrich Steele was basically a person, a human coming out of the enlightenment. So his whole idea about kind of doing an institution to the benefit of all people and through that art education actually makes a better person out of you. So that I guess was his intention and he very rightly so wanted a museum and a school that should stem out of that. And already in his first intention was that this museum becomes something bigger, grander, bigger than himself so to say, or his own collection. So he kind of gave that almost like an order to the next generations of people and Frankfurt and say, okay, make something bigger out of this. This museum has always had this kind of broad span of collection collecting form. What is being considered the beginning of painting in late medieval times, to now. At the stale, our core expertise is basically really large scale, very important old master exhibitions. It's in a certain way a classical museum, so we are mainly focused on painting, sculpture, and works on paper. We don't really collect in the area of contemporary large scale installations, etc. But it's kind of like an omphillade of masterpieces. So we really have under one roof, I would say, the story of 700 years of art history. It's a very civic institution and I think that's something that really stands out in the whole German museum scene. The steel is certainly the anomaly to the museum infrastructure in Germany also because it is really almost entirely privately funded. The way we operate is basically we operate through the support, through the philanthropic support of a lot of the citizens of Frankfurt, as well as through cooperation, support, through sponsorship, and also through our income. One of our main tasks was basically to really enrich our contemporary collection. I felt that we should do this in a very strategic way and whether or not go step by step, but we really try to make a big jump, a big leap forward. And that basically entailed building a major expansion, a new contemporary wing, if you might call it that way, but also bringing in over a thousand selected works of art to enrich our contemporary collection. And we tapped for that purpose, we tapped into the different communities, so to say. And one very interesting community for me was actually the corporate world and the corporate collections that are here in Frankfurt. If you talk about corporate collections now, the interesting thing is that they all come from this idea of creating a better workplace. I felt that one possibility, one next step for a corporate collection is that some of these works actually are being brought to a museum. I think one of the tasks of a director is not so much only to listen to the motifs, but actually sometimes to trigger the motifs. The Schirn is a different kind of institution. It's a municipal institution. It was the will of the city to have one of the main exhibition halls at Kunsthaler in Frankfurt. And right now I would say that the Schirn Kunsthaler is really one of the main exhibition venues in Europe that does not only contemporary, but also 19th century and modern art. So there are only very few left because it gets more and more challenging for Kunsthaler. It doesn't have its own collection to trade or to butter to do major shows on 19th century and modern art, but the Schirn is able to achieve that. The Schirn basically does, I would say, more challenging shows. I would describe the program of the Schirn different to the steel. I would say that the steel shows are usually manifestations. manifestations also of scholarship, manifestations of how the institution has researched something and how it kind of develops out of its own collection as a certain perspective. At the Schirn our shows are more like suggestions, how you could see something in a different way. So yeah, the shows are very surprising and they are challenging in a different way. The Levy House is a very special place. It looks like an enchanted villa from the 19th century. And it is one of the, I would say, best sculptor collections in the world. Collection ranges from old Egypt to classicism. So it was really done in the spirit of Winkerman, but it's solely sculpture and it's strength especially on the area of Roman antiquity and medieval sculpture and Renaissance sculpture. I find it a really wonderful place, a wonderful place to visit and it's something that really gives you the possibility of being immersed and involved this sculpture in a very pristine way. And so the way that we run it and the way how we program it, we don't want to make it actually a very popular institution. So it's very different to the steel and the Schirn Kunsthaler. It's attendance hovers around 100,000 a year and we don't want to actually change that because I think it's a very intimate and a very personal experience going there. It's a municipal institution in a way that the collection and the building is being owned by the city. We right now make developments with the museum that bring us together, or that connect us with various other fields. We run our museum shop online. So we have our own sites with DM, Drogor Immerk, where people can order online reproductions of our artwork. So we venture into these different fields and I think for me the most interesting venture right now is really this whole notion of the cultural educational field that we kind of really tap into with very interesting digital means. We've developed educational gaming for children. We will publish a major art online education course. We run our own film series. We actually produce film documentaries for TV stations. We do many different things in that field that actually makes the museum or the cultural institution a provider of information, a provider of education, a provider of content and something that is can be used or can be experienced or so way beyond just visiting the museum. If you take all three institutions, the LibyeCouilles de Chien and the Stale, we do about more than 20 major shows a year. It's a massive amount of programming. If you would ask anyone within Frankfurt or outside of Frankfurt, they would certainly attest that the development has been tremendous.