 Mabel, thank you so much for being with us today. You know, I'm such a great admirer of your work and certainly as someone whose practice is so expansive, you know, all the way from history and scholarship to kind of art, curation. And I find that that kind of expansion really reflects in your teaching. I mean, obviously you teach history theory, you teach the doctoral students and architecture, but also focusing on studio and the kind of studio projects that you bring to your students that are always addressing very complex social, political issues, cultural issues, and then bring them to bear on our present, but also on imagining alternate futures. And your last studio was really, I think, timely in so many ways. It dealt with the question of repair, literally repair of the built environment, but also reparations. And I wanted you to expand a little bit on the work that was done with the students and how you imagine the studio resonating for today as well. Yeah, thank you, Amal, for that excellent question. And to kind of think about how the work that we do at GSAP is, you know, in architecture in general, we tend to be very prospective in what we work on. We take issues that we see at the moment and try to be sort of smart and thoughtful about how they came to be, which is why history, I think, is very important. But we are also training people to kind of think about a future world. And we can't imagine that world without understanding where we are and where we've been. And so I think that's been a really great opportunity in studio as well. And one of the things that I can say about GSAP students is they know how to find you, and they will work across discipline. So I also work with HP students, Historic Preservation, CCCP. It's a really great mix of students in the school. But for studio specifically this year, I taught with Jordan Carver, who's a really remarkable kind of writer, scholar, activist. And we did a studio called The Protocols of Prepare to think about how you deal with cities that have undergone social division, specifically racial division, and how it's evident in the landscape. So we looked at Central Park and Seneca Village, which was a free black community, but that included Germans and some Irish in the area that became Central Park. And they were removed by eminent domain and have pretty much been forgotten. So the land was kind of taken away and the community erased. And so to think about what would it mean for that diaspora of people to be recognized, or even their sort of rights of belonging recognized. And we also looked at the site of the Cross Bronx Expressway, which famously cut across the Bronx and split it off and produced a very dire and impoverished community of the South Bronx that many in the city understood as burning in the 1970s and 80s. And to think about, OK, here is this gash in the landscape. How do we think about repairing those conditions? What role could architecture play? How do we become inventive about trying to heal conditions that travel very long arcs of history? And one of the, I think, characteristics that I've seen across your studios is the representations and the drawings that students make, which are really projective and very particular. So year after year, you kind of recognize sort of way of thinking and the very great care. And so I wanted to expand both on drawing as a practice and this question of representation and how it ties both the practice of representing but also expands notions of who gets to be represented and how. And I'm thinking in particular about your Afro-imagineries projects and other such kind of investigations and representation. Yeah, I mean, I think the question of representation, certainly for me, was something that I actually, because I am a GSEP alum that I can say, and I started to understand the implications of representation in my last studio with Stan Allen when I graduated in 1991 and the stakes at what can or can't be shown in representation and how you can sort of push the lexicon. The semantics, the syntax of drawing to start to include things that don't normally appear in architecture. And that was a really profound radical and liberatory understanding when I worked on that project because I was dealing with race. And then to have that be a part of how I drew showed me that we have to develop new methodologies of representation to be able to do that. And then now with digital technologies and being able to work with data, the work that I do with Global Africa Lab with Mario Gooden and a former graduate, Carson Smuts, who's now at the MIT Media Lab, I've really looked at how do you develop new modes, techniques of representation that can deal with cities like Johannesburg or Rio or even Detroit for that matter, whose issues may not be visible and recognizable with more conventional modes of representation. And that's what learning from Las Vegas asked us. And now you're bringing that all the way to engage with data and kind of new forms. And so I wanted maybe to conclude by asking you to give us a teaser a little bit of the show that you are curating at MoMA, Reconstructions, Blackness and Architecture in America, which we're all really excited to see and also wanted to hear from you a little bit what your hopes are for the show and how you've thought about it in terms of how it can open up much necessary new dimensions for architecture today. Yeah. No, the show is, I think, gonna be really, really exciting, hopefully provocative. It's the fourth in the issue series. You were part of number two with Fort Close with WorkAC. And I think it's a really fantastic series that MoMA does, which is to say, what are the issues, the compelling issues in the field that we need to address? The show in part came about because as the museum really took stock of its collection, it started to realize, oh, modernism, modernity is not just all white men doing modernism, but women were an important part. People around the globe were producing all kinds of modernisms. Problem was, when they got to the Architecture and Design Archive, they couldn't find anything by someone who's black, African-American, you name it. Or at least not obviously stated so. And that kind of led to the question about why that was the case, with thousands of objects in that and in what ways hasn't the Architecture and Design Department addressed these issues? And so what is the status of blackness in architecture and what does it mean to kind of maybe think through that lens, both of anti-black racism in the United States, but also potentially blackness as a kind of liberatory space that people can kind of imagine other futures? Well, I'm very excited to see it. And I feel like at GESAP, we have been trying to be very also kind of inclusive and diverse in terms of bringing a variety of perspectives together. And certainly in light of today, the crisis around COVID-19, I wondered if you would end with, what does it, I feel a lot of optimism in terms of for students coming in despite the recession or despite the economic crisis that might be or surely will be lurking. There's a sense that if we want change, change can happen very fast and seeing how fast we've mobilized. And so I wanted to maybe get your thoughts about how you think this current crisis might open up also possibilities for this incoming class. Yeah, I mean, I think there, I would say there are three things that I think could be important lessons. One, how the environment radically changed. We see climate, the air, the amount of pollution that was being generated by automobiles and manufacturing so radically shifted because we actually have stopped, right? And so it does actually say, we could stop doing this. It's a question of choice. Two, I think that capitalism, global capitalism, in terms of its acceleration and its movements not new, it goes back to the colonial project. And I think that part of that, what that produced is this problem of racial difference. Some people refer to it as racial capitalism because in those differences are exactly how you can exert resources and extract labor and make environments where some people thrive and other people don't. And so my hope is that we recognize ourselves as a human species among many species and that we discover our humanists, that we realize it doesn't matter if you're rich or poor here or there, black or white or whatever, COVID-19 doesn't care. And that we're all in this together as human beings and perhaps we need to care about ourselves both as a species and care about our planet, which hosts all of the other species. And I think as architects, we are a part of that. We build in a world that's very entangled and complicated. But I think we should recognize that we can work and live differently. Thank you, Mabel. It's a great way to end our short conversation. I'm convinced that I will see you again very soon. All right. Bye. Bye.