Question: Art Spiegelman (; born Itzhak Avraham ben Zeev on February 15, 1948) is an American cartoonist, editor, and comics advocate best known for his graphic novel Maus. His work as co-editor on the comics magazines Arcade and Raw has been influential, and from 1992 he spent a decade as contributing artist for The New Yorker, where he made several high-profile and sometimes controversial covers. He is married to designer and editor

Hired by Tina Brown as a contributing artist in 1992, Spiegelman worked for The New Yorker for ten years. Spiegelman's first cover appeared on the February 15, 1993, Valentine's Day issue and showed a black West Indian woman and a Hasidic man kissing. The cover caused turmoil at The New Yorker offices. Spiegelman intended it to reference the Crown Heights riot of 1991 in which racial tensions led to the murder of a Jewish yeshiva student. Spiegelman had twenty-one New Yorker covers published, and submitted a number which were rejected for being too outrageous. Within The New Yorker's pages, Spiegelman contributed strips such as a collaboration titled "In the Dumps" with children's illustrator Maurice Sendak and an obituary to Charles M. Schulz titled "Abstract Thought is a Warm Puppy". An essay he had published there on Jack Cole, the creator of Plastic Man, called "Forms Stretched to their Limits" was to form the basis for a book in 2001 about Cole called Jack Cole and Plastic Man: Forms Stretched to their Limits. The same year, Voyager Company published a CD-ROM version of Maus with extensive supplementary material called The Complete Maus, and Spiegelman illustrated a 1923 poem by Joseph Moncure March called The Wild Party. Spiegelman contributed the essay "Getting in Touch With My Inner Racist" in the September 1, 1997 issue of Mother Jones. Spiegelman's influence and connections in New York cartooning circles drew the ire of political cartoonist Ted Rall in 1999. In an article titled "The King of Comix" in The Village Voice, Rall accused Spiegelman of the power to "make or break" a cartoonist's career in New York, while denigrating Spiegelman as "a guy with one great book in him". Cartoonist Danny Hellman responded by sending a forged email under Rall's name to thirty professionals; the prank escalated until Rall launched a defamation suit against Hellman for $1.5 million. Hellman published a "Legal Action Comics" benefit book to cover his legal costs, to which Spiegelman contributed a back-cover cartoon in which he relieves himself on a Rall-shaped urinal. In 1997, Spiegelman had his first children's book published: Open Me... I'm a Dog, with a narrator who tries to convince its readers that it is a dog via pop-ups and an attached leash. From 2000 to 2003 Spiegelman and Mouly edited three issues of the children's comics anthology Little Lit, with contributions from Raw alumni and children's book authors and illustrators.

Using a quote from the above article, answer the following question: What happened in 1992?
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Answer: Hired by Tina Brown as a contributing artist in 1992, Spiegelman worked for The New Yorker for ten years.

Question: The Iberians (Latin: Hiberi, from Greek: Iberes, Iberes) were a set of peoples that Greek and Roman sources (among others, Hecataeus of Miletus, Avienus, Herodotus and Strabo) identified with that name in the eastern and southern coasts of the Iberian peninsula, at least from the 6th century BC. The Roman sources also use the term Hispani to refer to the Iberians. The term Iberian, as used by the ancient authors, had two distinct meanings. One, more general, referred to all the populations of the Iberian peninsula without regard to ethnic differences (Pre-Indo-European, Celts and non-Celtic Indo-Europeans).

The Iberians produced sculpture in stone and bronze, most of which was much influenced by the Greeks and Phoenicians, and other cultures such as Assyrian, Hittite and Egyptian influences. The styles of Iberian sculpture are divided geographically into Levantine, Central, Southern, and Western groups, of which the Levantine group displays the most Greek influence. Iberian pottery and painting was also distinct and widespread throughout the region. The Iberian polytheistic religion was influenced by the Greek and Phoenician practices, as it is evident in their sculptures. The man-bull Bicha of Balazote (possibly a fertility deity) and various depictions of sphinxes and lions bear a resemblance to eastern Mediterranean mythological creatures. The Lady of Elche and Lady of Guardamar show clear Hellenistic influence. Phoenician and Greek deities like Tanit, Baal, Melkart, Artemis, Demeter and Asclepius were known in the region and worshiped. Currently few native Iberian gods are known, though the oracular healing deity "Betatun" is known from a Latin inscription at Fuertes del Rey. There was clearly an important female deity associated with the earth and regeneration as depicted by the Lady of Baza and linked with birds, flowers and wheat. The horse was also an important religious figure and an important sanctuary dedicated to Horses has been found in Mula (Murcia). There are many depictions of a "horse taming god" or "lord of the horses" (despotes hippon). The female goddess Ataegina is also widely attested in the inscriptions. Iberians performed their rites in the open and also maintained sanctuaries in holy places like groves, springs and caves. Archaeological evidence suggests the existence of a priestly class and Silius Italicus mentions priests in the region of Tartessos at a temple of Melqart. Evidence from pottery reveals some information about Iberian myth and ritual. Common themes are a celebratory ritual dance described by Strabo [c.f. 3.3.7.] and seen in a relief from Fuerte del Rey known as the "Bastetania dance" and the confrontation between the deceased and a wolf figure. Ritual sacrifice of animals was also common. The Iberians incinerated their dead and placed their ashes in ceremonial urns, the remains were then placed in stone tombs. Iberians venerated the war god Cariociecus.

Using a quote from the above article, answer the following question: Any particular god they believed in?
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Answer:
There are many depictions of a "horse taming god" or "lord of the horses" (despotes hippon). The female goddess Ataegina is also widely attested in the inscriptions.