 is December 18th, 2014. And on this day, we are shipping to UCLA in California the archive of our grandparents, Willard and Barbara Morgan. And together for five years, we worked on organizing and finding an institution for the archive. Okay, we're waiting for the Big FedEx direct service truck. We have Janet's the lead driver. They're gonna go 24 hours a day leaving. They're gonna be in UCLA on Monday morning, sleeping and driving the whole way. And we were pumped. Barbara Morgan was most famous for the photographs that she took of Martha Graham and numerous other dancers such as Doris Humphrey, Pearl Premis, Eric Hawkins and so on. It was right during the beginning of modern dance and her iconic images really took modern dance itself into a whole new level. I think it was her painting background that made a huge difference in how she was able to turn photography into an art form. This was also the time when they went out into the Southwest every single summer for many years. And while out there, Willard Morgan took the Leica camera and he would climb up into these cliff dwellings and other places where you couldn't take the large cameras, and he could show that you could take a small 35 millimeter camera into places that you would never be able to go and take pictures with any other equipment. Eli's gave him a job offer with a letter which they quickly accepted to travel to New York and for Willard to help promote that format and basically become its main cheerleader, really showing how it can be used and promoting this whole new format that really wasn't being taken seriously. And he quickly grew it dramatically and then Barbara had her own art studio nearby in the city and for photography as well as painting and wood blocks. And in 1935, she met Martha Graham and that started her long relationship with her as well as photograph and modern dance from 1935 through 44, I believe. And so the importance of mythology, which Barbara Morgan really got very immersed in when, during those initial years in the Southwest, and she took that through her photography of Martha Graham and noticed, you know, that Martha Graham was inspired by these same themes as well. See some more of these very energetic and colorful watercolors. And here's some of the earlier wood blocks that she did in California. And this is after their Southwest travels and her incredible appreciation of the Native Americans. And as we really began to research the archive and learn more about the UCLA years, the Southern California piece, the Neutra piece and Willard's incredible ability to just zero in what was new and important and whatever was going to broadcast deep into the future. It was 35 millimeter photography, steel houses, the impact of the car on architecture and all of this in this world of Southern California modernism. I think we all feel that that's really going home, that that's where we wanted it to go from the beginning because I think we know that's where grandma would want it to go, Barbara and Willard. So that feels spiritually, artistically, creatively, intellectually, absolutely right. Makes more sense now, probably more than ever the last five or six years because a lot more of what we've been learning ourselves and reading and being part of is much more focused on the whole Los Angeles area. Now really the origins in early time is certainly becoming more important about how it affected everything else. So it makes a lot of sense. We're happy.