 So, Creative Time was founded in 1972 in New York City as a non-profit public arts organization. New York City at that time was in a very bad state. The city was in a verge of bankruptcy and corporations were in a mass exit from New York City. They were moving to the suburbs and to other states. And Creative Time's founders really thought that artists could do a lot to not only create art in the public realm that would sort of animate the city but that the presence of artists in our neighborhoods would also contribute significantly to the quality of life in New York City. So, their rationale for starting Creative Time was very different than the typical public art model of heroes on horseback. They really believed that public spaces were places for the free exchange of ideas. I mean, think about it. This is 1972, a time towards the end of the Vietnam War, a time of the Green Revolution and civil rights and the women's movement. They believed there was no idea, no subject an artist shouldn't engage with. They thought artists should kick open the door to social change. They believed that artists needed opportunities to experiment, that if they could experiment, they would push culture as well as our field forward. And I would say to you that in the more than 40 years of Creative Time's history, the truth of the matter is that all of our projects have been experimental and they've been really groundbreaking for every artist we've worked with. This is an artist named Meryl Lauterman-Nuclease. Meryl Lauterman-Nuclease was an abstract painter. But she realized as the city was going through this verge of bankruptcy, this financial and social collapse, she wanted to provide herself as a service for public good, in particular by being in residence with the New York City Department of Sanitation. This was an abstract painter who wanted to do a public service project, a performance. For one year, she went on the garbage collection route of every single sanitation worker in New York City. She shook their hands, she thanked them for their work. And that single gesture over a period of the year for every single day for a year helped to rebuild a very beleaguered department and reinstate a dignity and humanity into the New York City Department of Sanitation. Fast forward 20 years later, when I first came to Creative Time, artist Paco Cow, who's back is here to you, also wanted to provide his services for public good. In particular, he wanted to offer himself for rent to the public to see if there were any needs that the public had that weren't being met in the traditional marketplace. People could rent him for $35 an hour, body as prop, $75 an hour, got a little brain function, but full body package. And for $125 an hour, you had the full artist-wide body package. This woman got Paco as a birthday present and she'd been divorced for a year. And she missed yelling at her husband in public. That was the thing she loved about being married. No wonder why they're divorced. And so she took Paco with her to a busy midtown corner pretending that he was her husband and she yelled at him in public for an hour. Here's Paco as Jesus on a cross for a conservative Lutheran church in Brooklyn. And he was so popular with the congregation, they brought him back for the resurrection. While all of our projects are experimental, the truth is that sometimes they bring us together in moments of wonder and joy. Vic Muniz, who I believe got a crystal award a few years ago here at Davos, did his first public art project with Creative Time. Here he had a cartoon-like image of a cloud drawn over the New York City skyline, giving people in New York City an opportunity to dream big and just to feel extraordinary joy. Two years ago, the artist Nick Cave had his feathery horse-like sculptures animated in Grand Central's historic landmark Vanderbilt Hall. As young Alvin Ailey dancers wore them as costumes and shook the place up. And the artist Paul Ramirez-Jones wanted to create a public monument that everybody who wanted to could participate in creating. Every city has a key to the city, right? But normally it's reserved for dignitaries or, you know, winning sports teams like the Yankees. We convinced the mayor to make the key to New York City a key that everybody could have for one month in June. And they'd come to Times Square and they'd bestow on one another, strangers, friends, students, teachers, family members, the key to the city. But this key was more than a symbol. It unlocked 25 different sites and five boroughs of New York City from a light switch in Bryant Park so you could turn on and off a light switch. Didn't you ever always want to do that? Or you could unlock a pedestrian bridge gate on the George Washington Bridge if you thought you needed to escape New York for a bit, or even unlock a private monastery garden in Staten Island. John Berger said very wisely, we only see what we look at. To see is an act of choice. And more and more artists really are trying to get us to look at things that are important for us to see so that we can really contribute to a wave of cultural understanding around important issues. This is a project by an artist named Doug Akin. Doug created five film vignettes that were projected on the Museum of Modern Art. And these were all films that were about our increasing connection to our technological present and our growing distance from nature. Artist Jenny Holzer wanted to get us to think about the human cost and personal tragedies of loss of home during times of war and projected poems on New York City's landmarks such as the New York Public Library, Central Park, Cathedral of St. John the Divine, and Rockefeller Center. Some of our projects also bring us together in moments to mourn and heal. As Carol noted earlier, Creative Time commissioned with Humus Park Society the tribute and light, the two beacons of light that illuminated New York City six months after the attacks of 9-11 and every year on the anniversary since to reclaim our city skyline and to mourn the lives lost on that day. The Chinese artist Saiko Qian used an inherently violent medium of gunpowder to create a very healing gesture, what he referred to as a halo over the heart of New York City in Central Park to draw a giant circle and have people come together two years after 9-11 in a collective moment of beauty and celebration. Before the artist Paul Chen presented his production of Waiting for Godot in New Orleans in the lower ninth ward right where the levee notoriously broke to remind people of the tragic consequences and the realities on the ground of people in New Orleans as they were still waiting to return to a home to identify the bodies of lost loved ones, waiting for insurance, waiting for electricity, waiting for water, waiting for their neighbors. Abraham Lincoln, very wise man, said public sentiment is everything. With public sentiment nothing can fail and without it nothing can succeed. So sometimes artists are using strategies in addition to coming together for moments of collective joy and wonder or mourning and healing and sharing. Sometimes they're using strategies that are rather difficult and controversial, provocative, with great intent and care. This is a project we did with an artist named Steve Powers. Steve wanted to raise attention about the fact that the U.S. had very secretly and quietly started using torture during war which was a break from our historic past. So he created in Coney Island the waterboard thrill ride and as you looked through those gates you saw animatrons actually waterboarding. This was a tremendously controversial upsetting project to many people. We used that controversy with great intention to raise greater consciousness about waterboarding. British artist Jeremy Deller wanted to, was concerned about how we fight wars today so we moved from one another. He took a bombed out car from a notorious bombing in Baghdad, stuck it on the back of an RV, we drove across country stopping in cities all along the way and inside the RV was an Iraqi soldier and a U.S. soldier who had done two tours in Iraq. They came together to speak with people about the war, about Iraqi culture, and to share personal stories. Just this past summer Creative Time worked with the artist Always Bold, Always Controversial artist Carol Walker who uses very deliberately, very challenging stereotypes in this case on a monumental scale to discuss the monumental problems. These stereotypes are histories of racism, slavery and sexism still have on our culture today. Now some artists are going even further, a wonderful artist named Laurie J. Reynolds asked I think a very provocative and thoughtful question. Is it our goal to make art about the harms we see or to end the harm we see? So more and more artists are actually getting involved in real social change movements. This is a project by an artist named Tanya Brighara, maybe some of you read some news headlines recently when Tanya went to Cuba right after during the holidays when it was announced that U.S. would start to normalize its relationships with Cuba and she was immediately arrested three times in three days by the Castro government. Tanya has been working with us for four years on contributing to migrant and immigration movements. Wonderful artist Rick Lowe who got the MacArthur Award this year were very thrilled about that has been working for I think 25 years now to take a neighborhood, a traditional African American neighborhood that was slaughtered to be demolished and convinced the city to let him to restore these homes and not only did he create artist studios but more importantly he created homes for single unwed mothers so that they could continue their education that their children would have decent education and that there would be community services. This one block grew to two blocks, this four blocks grew to an entire business improvement district and not only has it had a profound impact on the lives of those individuals but also in the entire community and has changed urban planning in Houston and in cities around the country. Laurie Jo Reynolds whose quote we saw about ending the harms that we see has succeeded in shutting down a super max prison in Illinois. Professor Victor Muniz did his first public art project with creative time and then went on to work with the garbage pickers and the largest landfill in South America outside of Rio. Beyond creating awareness around the horrible and difficult conditions of these people and uplifting human dignity, he actually had laws changed, worked with them to change laws in Brazil so not only could they sell directly to corporations rather than going through middlemen and improving their earnings but also to create the first recycling mandatory recycling laws in Brazil. Artist Swoon worked immediately after the earthquake in Haiti to rebuild homes for unwed single mothers. The Danish artists Superflex have been working with indigenous cultures around the world to create new alternative economies. Trampoline House has been working with new immigrants, primarily I think Syrian immigrants in Holland, creating a community center when there was a lot of tension between the traditional people in the neighborhood and now with these new immigrants, a center where they could come together, learn about one another's cultures, share languages and work together to improve each other's neighborhoods and lives. The artist Jeanne Van Heisvijk worked with Neighborhood in the UK where people had lost their homes during the foreclosures due to the banking crisis, created actually a bread shop for them to come back in a bakery and cafe for them to come back to and to be able to work together and then finally this is the artist Ghana think tank that provides third world solutions to first world problems. So I'll just conclude by simply saying that artists all around the world today are using all sorts of strategies to work directly with the people who they hope to collaborate or affect their lives in some positive ways and they're using lots of different strategies to do so. They're using humor and joy, they're using moments of wonder and beauty and they're using some more challenging strategies such as provocation. As Martin Luther King says, we must use time creatively and forever realize that the time is always right to do right. Thank you.