I am very happy to be here today to present the consent of complex conservation issues in public health. I think in the number one, so first, I think it's pretty good about the way I was planning to call the Casandra complex. I came to a meeting with William Dora G. Casandra was with the author of Free Am, who was the King of Tribe. She had the gift of seeing the futures, however, no one believed her. So, don't separate us. We've been having a meeting like that somewhere, I guess, sometimes. Remind us of Moros, it's from Peru, and she lives more now in the US. Our large-scale supply-based installations have been presented around Europe. Grabsenun. I just want to say thank you for having me. This accumulation made a lot of the different ecosystems. It was a lot of fish that at the beginning of the accumulation on the right, and then on they far live, the next sequence for these waves. We had to make a compromise and re-weld, of course, the town wealth and get underneath it to private with the primer while it was only in a slightly lifted manner. They then went to what they call colloidal suspension. It wasn't just a matter of throwing a particular pigment into the paint medium that actually had to be manufactured from scratch. They were quite excited about the idea. In those days, epoxy paints, when they first came out, were in five colors. Post office blue, fire engine red, safety yellow, black and white. Is this type of software rather than that one or something with you? Is that something you'd be open to do? To me, that would be a new form. Indeed, I'm open. I'm always open. It's flexible. You have to go like water. You mentioned earlier that you didn't at least use to think about conservation when you create your work. Do you ever think of it as longevity? I love the ephemeral part of it. It does a part that I love about lighting. You want to stay in that moment, but you're really truly you can. You can't catch it. You know, of course, the lighting inside is a structure of this physical sculpture, but you can't really have it for yourself. So you document also the effects that you want to achieve. If you describe the work and the experience it provides. The challenge here would be in the next 50 years, have the equipment, the computer, to be able to read it. That's the key to me. We're conserving the artist's intent. And that's the most important thing. I mean, if the intent is that the piece falls apart or something that's a key thing that we need to know. The ones that before had different use and the colors were much more intense. So the piece really truly will never be the same. Technology was used in the time of the creation, anchorage, the piece in history. And this is our first reference. If we can't forget that. And presumably there is not much you can do when that happens. Well, it depends. This is actually a key question that is of interest to me because there are certain things we can do. But the question is, should we? How we allowed to do this little tweak of technology? Where's the fine divining line where we move away from the originals? So stories that are being lost, even though they're documented, they're not being experienced in real time by later generations. This entire package of documentation, in any way, we can do today by photography, videography, but also in the written work. And also, the visitor interaction and experience, as we are talking about, performative works, is extremely valuable to serve exactly that. I already want to thank my panelists. I think you've been wonderful. And I was very interested by everything you had to say. Thank you.