 So the New York Public Library has a vast collection of archival material including works that were published and unpublished. We have almost 44.5 million objects in the collection. The New York World's Fair collection, the 1939-1940 collection, is a record of the corporation that ran the World's Fair. The collection is heavily used by our researchers, in part because there are 12,000 photographs in the collection. The collection also contains records from the corporation including legal documents and other things relevant to the fair. And the trick for us was determining A, the copyright status, and B, whether those things should be online. We knew that the researchers really wanted access to the collection, both in person and online. So we spent a lot of time investigating the copyright status of these things. Ultimately, after some search, we couldn't make a decision about whether these things were in copyright or not in copyright. And so part of our risk-averse nature was to do some research into the copyright status of these things. So because we couldn't determine the copyright status, we treated them as if they were in copyright. We then did a diligent search for the rights holders to try to figure out who actually owns the rights in these things. I spent two days in the archive going through the corporate records to find releases or find assignments or registrations or anything. They would be helpful to find the copyright holder. Unfortunately, after two days of thorough searching, including searching the copyright office's records, we were unable to locate a copyright holder. We looked at the collection and knew that there were problems with identifying rights holders. So we felt that digitizing these works and making them available online was well within fair use. We really relied on the principles of fair use to digitize the collection and make them available. We also made the collection available in an app, an educational app that recontextualized the material and made that more accessible. In fact, the app became such a popular hit that it was one of Apple's top education apps for that year. We never had anyone reach out to us about this particular collection. We have had some rights holders reach out to us to talk about photos that were on our website. But in our experience, we found that really what they want is a copy of the photo. In fact, they probably don't actually want us to take it down. Most of the time, they're granting us a license for us to use the work both online and for other educational purposes. We know that the New York City school system relied on our collection, the 1939-1940 World's Fair Collection, for educational purposes within the classroom. We know they used the photographs to describe what people looked like, what costumes they were wearing, what dress they were wearing, what the exhibits were. We knew that the schools were using those items in their regular practice. So we used fair use for a number of different purposes, including the preservation of audio and moving image. We have a number of audio and moving image items that are on tapes that aren't, in fact, obsolete, but are degrading and we feel at risk. So therefore, we relied on fair use in those situations to digitize that material and at least store it in a dark archive so it's being preserved. We also use fair use in exhibitions. When we have items that need to be preserved, we can't display those items for the entire exhibition. Instead, we make copies of those items and display those copies at the exhibition. So the Code of Best Practices is important for NYPL for a couple of reasons. First, the Code has opened up communication between the Library's Office of General Counsel and people who want to use collections at the Library. So curators, frontline staff, they all have questions about what the scope of fair use is and the Code provides a good resource to use to start those conversations. We've also used the Code to back up and support and bolster some of our fair use arguments, especially when we're thinking about exhibitions and moving material, especially at risk material, to digitized formats.