 John, the title of your piece is Ghost Fence. What's it a ghost of? It's a ghost of the original park boundary fence for Lincoln Park before it was cut off in the creation of a wider Franklin arterial. And so it's kind of the memory of the fence in its approximate original site. And it also shows the corner pillars as well, those boundaries as well. Yes, so those mark the original corners at Franklin in Congress and then Franklin and Federal Street. And what's the fence made of? It is a white flagging tape like you would see marked on trees or poles for repair. And there's wooden stakes like you would use in a garden and then clear plastic sheeting. I was really inspired by the new construction around the site and the materials seen in those sites when choosing the materials for this. I've always been interested in working on Franklin. I find it a very interesting spot with its history and how much it's changed over the years. And urban renewal is such an American dream in a way. It was like a way to idealize an urban environment, make it better for the people who live there. But there's also social consequences of that too. So that critique of the American dream that it's like for the greater good, but like what's the cost also? Older Portland residents will remember when this boundary was here and was the park. Are you hoping to invoke memories in them? But what about memories, new memories for people who have never seen the old park? Yeah, I've been getting a lot of response from people walking by and driving by who recognize it for what it is pretty quickly. But there's also especially younger people who don't have the memories here that maybe only see this as a street that's like hard to cross and is really windy or there's a lot of cars. And so I wanted to help create like a positive memories in this space for people who don't remember it when it was a park. The park is a community gathering space. And because John's piece is showing the original boundary of Lincoln Park, we wanted to plan this event around the idea of community and gathering and creating a place for people to come and sit and linger and have conversations the same way that they would as if the park still existed in this space. The idea that the city uses this space, they're kind of turning it into a meadow. You can see that the grass is really high in the middle of the area and it dips down a little bit so it is a little bit more removed from the busy streets on the side even though there's hundreds of cars that have passed by just in the hour that we've been here. It does seem to be a little bit more peaceful in our little pocket where we are. Alice, the ghost fence event here with June's First Friday is the first of three installations that you're going to have over the rest of the summer. Talk about what's coming up. The next piece that opens on I believe July 7th will be a garden project in Kennedy Park with a number of immigrant women from Syria and Somalia and the signage for it will be out in the public way showing people the way to the garden. The final piece in August is going to be by an artist called Christian Prash and it's going to be in Post Office Park and he's going to be building a number of big wooden blocks that participants can build in various configurations including a fence and possibly a gateway and so those are the three different projects we have this summer. They're small, they each last for a month and then we also will be choosing our 2018 project. We have a curator we've hired and in a couple of days we're going to go look at sites along Back Cove which is where the next project will be cited. When you think of art you think of something that's permanent but the whole concept behind these projects is something that's temporary. Talk about the philosophy behind that a little bit. Temporary art is wonderful because it doesn't cost a lot. It can address timely issues. It can come up and down quickly. It can provide interesting surprises in sites all over the city. It has an energy that permanent art doesn't have because it has to be permanent. It's a capital investment of the city and it's very, very costly. So this is a whole different approach and also in large part we can use younger artists without as much experience and give them public art experience.