 Thank you guys for being here. Thank you for live streaming, it's for live streaming. It's very 21st century. Yeah, thank you Elizabeth, that was so beautiful. Thank you so much. I don't know if Anne is here yet, but thank you Anne Pasternak, our leader and director here at the Brooklyn Museum. And thank you to you all for being here. I also wanna say thank you very specifically to Allie, Alicia, Lauren, and Andy who did this. And to everyone else at the Brooklyn Museum who has worked to make this exhibition happen, this program happen, this catalog happen. Let's clap for them. Because it's so nice of you guys to be here. Sorry, I'm Rejecto Hopley, co-curator at the exhibition. And I'm Katherine Morris. And we're so happy to be here. We're excited we did this last night too. We just laughed. Why don't you say a few quick words about the context for today. This symposium is part of a long process and I think it folds really well, we hope, into a conversation that started this institution about 18 months ago when we had a convening of a number of our colleagues, many of whom are here in this room today, current and former colleagues, and a group of artists who we knew we wanted to have in this exhibition. And in that convening, we've heard two really important things from the artists specifically. And they were, number one, they wanted this exhibition to reflect their voices, tell their story and their words. Number two, they also wanted to have some other smart people talk about their work. So, as a result, we have come up with a plan for this day and for the two publications that we're making for this exhibition, one that already exists in the source book, covering the period 1965 to 1985, a source book that we've spent loving amounts of hours researching and compiling historical documents to hopefully set a framework for this exhibition today. Today's symposium will result in the second publication, with the contributions of our colleagues that we're so thrilled to have here today to talk Dr. Kelly Jones, Dr. William McMullen, Dr. Runa DeSousa. That will be coming later, so we can support that. And just to point out, Dr. Huey Copeland will also be writing for this publication, but he couldn't be with us today, because he's very, very busy. I guess, I don't know. We miss him. But he will be in the catwalk. So the other thing that we wanted to just say very quickly, and we're so happy that, Elizabeth, that you read that poem, because another thing that is, we're so happy to have some of the artists here today to be in this room, but also kind of perhaps watching a live stream if they couldn't be here, but also those who are no longer with us is the show that encompasses a large swath of the 20th century. So we're very happy to be able to honor everybody. And also we have the poem that Elizabeth read is in this source book, but there's another poem as well by Audrey Lorde that I wanted to read to you guys, because Audrey Lorde is also no longer with us and is an incredibly inspirational person in general, but was incredibly inspirational for us in creating this exhibition and this source book. And this poem in particular from 1973 encompasses some of the, I guess some of the conflicts that we were trying to get at out of the period of the work that you guys will see if you haven't seen the show yet and that you'll learn about today. So I'll just read it. Who said it was simple. There are so many roots to the tree of anger that sometimes the branches shatter before they bear. Sitting in netics, the women rally before they march, discussing the problematic girls they hire to make them free. An almost white counterman passes the waiting brother to search them first. And the ladies neither notice nor reject the slighter pleasures of their slavery. But I, going bound by my mirror, as well as my bed, see causes in color as well as sex. And sit here wondering which mean will survive all these liberations. It's hard to follow one Audrey Lorde. So we will quickly just jump to a little bit of information. We are really thrilled today that before, we will have a group of teams that are working with us at the museum. They're called the digital artisans. And they will be introducing each of the artists who are being interviewed today. So they will be introducing themselves on the stage and telling us a little bit about the artists. Just want to mention that the digital artisans are a feminist project. It's a three year, eight team program that goes back to the earlier 1972 request for paid work. Pay team program exploring feminism, feminist art and digital materialism for the museum. New York City teams participate, explore art, discuss key readings around feminisms and feminist art movements, talk race, gender, sexuality, meet with leaders in their fields, create resources for sharing what they've learned with larger team audiences. In the summer, they will be launching their first new team website, feminist team website, bkmdigitalartisans.com. Today, we'll be employing by five of these teams, leaders who will be working part over the next, who have been working part over the last few months to produce this website. In addition to introducing the artists who will be in our conversations today, they're also conducting research, creating workshops, and planning programs around what we want in a revolution the rest of the summer. So we're excited about that.