 You have to earn the right to be a part of a community. It's not just a gift that you're giving people. If you want to participate in a community, you have to show your willingness to be giving and not just thinking that your presence itself is the gift. For about 20-something years, the Whitney had been considering expanding on Madison Avenue. And the site was rather small. And there were many attempts by multiple architects and multiple directors, including myself with Renzo Piano to build on Madison Avenue. And the site just didn't accommodate what we needed for the future. So it was clear that you either do something small, don't do something at all, or you move to another location. Being back down in the meatpacking district is really closer to our roots, closer to where the artist community was. And in many cases, still more of it is there. Both our curatorial team and our education team got involved with the community right away. We did commissioned art projects on the site. We worked with a number of the public schools, the community houses, a number of the community organizations, and we really worked. So Adam has been the driving force of this. Of course, we got many, many people working. Architecture is a core job. Making a building like this, public building is about working together. That's for sure. Sometime, I even wondered, who was the architect? And it's not strange, because a good client is not the client saying yes. And believe me, Adam was not saying yes. Adam was discussing. Adam, I think, brought a unique approach to collaboration on the project. Every detail was examined. Every surface was examined with the staff, with the museum professionals. And that was a highly unusual kind of collaboration that ran very deep into the Whitney staff. We had such faith in this team. I think the work that Adam and his curators and the artists involved here and the trustees and the architecture team did really sewed that together. The hope was always that this would be inwardly beautiful and outwardly embracing. And I think it's been a total success. I think all of us realize that you don't build a museum from scratch very often in a city like New York. We were doing something that comes about, maybe once or twice in a generation. I think that the way in which the associate architects, the design architects, and the way everybody worked with the entire construction team and staff was with that in mind. Through the appreciation of the history of American art, hopefully they have a greater appreciation of what is going on in American art today.