 Fair use is actually really, really important in the visual arts community. So there's two sides to it. There's more sides than that, but there are two big buckets of activity that are for which fair use is really important. And one of them is art history because art history, art historians can't really write an article analyzing art that they can't illustrate with, that they can't reproduce in their article to show you what they're talking about. And if they don't understand their fair use rights, their field of action in art history gets constrained to either kinds of art that they have permission to use or public domain art. So one of the things that's been happening in the art history community is that everything after the early 20s has been off limits to art history graduate students who don't have a stipend to clear all of the pictures to be able to put into their articles, which they're gonna need to get hired as a professor. Once they're a professor, they're gonna get some kind of stipend, they hope from their university, but it probably isn't gonna cover the costs. Of all of those permissions. And we worked with the College Art Association, which represents art historians, artists and art librarians to develop a code of best practices that would accord with the best, what the field itself thought was best practices. And one of the really exciting things was seeing that the major journals in the field and two of the major university presses in the field changed their policies to be able to permit fair uses in the publications. And that was a 180 degree turn from where they were before. What this also means is that you can be a graduate student and ask a question about 20th century art or 21st century art or digital art and be able to make that a topic of your dissertation. Also very exciting. And one of the fiercest defenders of copyright has been the Picasso Foundation because they really are very, very vigilant about the uses of Picasso's work. So Suzanne Blier, who at one point was the head of the Board of the College Art Association and is a leading art historian at Harvard and a historian of African art decided to take a close look at a Picasso painting called Le Demoisal de Davignon. And she realized because of her knowledge of African art that Picasso was actually, that the understanding of this film has been misrepresented. It's not women in a brothel. It's actually his version of evolution of women using African statuary and images. And he's drawing this from the exhibitions of African art that are being shown at the time. So this is something that only an African art historian is going to understand about this intersection of these two traditions. She writes a book and then she has huge trouble finding a publisher to accept it because she's going to have to reproduce some images of Picasso. And she is not because she has been part of creating the Code of Best Practices and Fair Use, she's not going to pay for that. And she regards this, she is the leading art historian at Harvard. If she can do this, she's going to make a statement. She's going to make a political statement about the importance of fair use. And so she works with that finally Duke University Press. And nobody has done this, especially with Picasso. And so Duke University Press decides, okay, that Code of Best Practices means something. There's a 10-year, there's a 15-year history of fair use codes being quite robust. This seems to accord with the law. You think we'll go for it. And they publish the book, which gets rave reviews and has really changed Picasso's studies. And they know she didn't pay for it. And by the way, has not heard a complaint from the Picasso Foundation. So that's the kind of thing that's important for art historians. Artists also need fair use because so much, especially in a digital environment, so much art refers to other art. And you don't wanna stop that practice, which has a very long history, collage in particular is centuries long in our practice. And so you don't wanna deform artistic practice by limiting that. And yet it can be a challenge for artists to understand what are the limits. So one of my heroes in these recent years since the art historians code was created is Rebecca Modrak, who's at the University of Michigan. University of Michigan is an important place for fair use because it's the place where the whole Google Books drama starts. So those are university lawyers that really, really, really understand fair use. And she's an artist in studio art. And she is fascinated by this company, this Brooklyn company that's selling farm and historic artifacts as bespoke tools for a Brooklyn community. And we're talking things like an axe, which you really don't need in your Brooklyn apartment, typically. But they're selling them for hundreds of dollars because it's this hipster thing. So she looks at this and to her, this is reading like an appropriation of art for hipster consumerism. And she decides to make a shot for shot parody of the commercial about the axe, but it's about a plunger, a bathroom plunger. And it's about how this bathroom plunger is like my grandfather's bathroom plunger and it has this finish. And it's exactly word for word, the origin. And then her work of art runs side by side, minute for minute along the original. So she has 100% of the original commercial running alongside her parody. And of course, the people who had that commercial were like, you have infringed our copyright. So she went to her own lawyers at the University of Michigan and they were like, oh, we love you. This is such a clear, very use case. Bring it on. So they very easily defended their case. And then she wrote an article for one of the major journals about her experience. And the journal said, well, we can publish an image of your side of this two-sided work, but not their side because that side's copywriting. And she was like, by the way, there's a code of best practices and fair use for visual arts. And I think you should think about it. And it took a conversation and finally took a conversation with a lawyer, but they did change their policy and they published the article with the full piece of art which includes the copyrighted material. And so people like Rebecca and Suzanne are on the front lines and they have to be kind of courageous and stick up for their rights. But they're doing that so that people behind them can say, well, of course I can do this. That's fair use. And to liberate both artists and art historians to do more work.