Century Modern. Yeah, I guess it's it's the funny thing about labeling art historical periods. I would say their modern and contemporary depending on how far back you go. But I think like with long as your tastes and likes, even though they're not ghosts, are definitely contemporary they work with well, I think so. Both of those people are now. Deceased is actually my favorite. Yes, she went temporary to this today. Yes, for sure. So, William also, you know, had close relations with Roscoe. And Stephen other Knuckles was part of the Light art movement, and Bush is Super Active today. So yes, definitely part of the Contemporary scene. But there's like so many others who, who are sort of, they they became Niche. And I don't really know why I thought maybe it's, you know, Gallery representation or, you know, the workings of the art world's exposure General. Yeah. But that was my goal was to see how they fell into a job. It's a whole art historical movements of their periods and how they were in dialogue with artists of their time that were more familiar with both inch. And I have looked at your website, is not impressive and we are listeners. Take the time to take a look at it and it's very interesting extremely well done. By the way, thank you so much. It's really quite good choice. What is the first thing that comes to your mind? When you think about the history of Greek art? I think what comes to mind is how it seems like. So much of the population is more familiar with Antiquity and then somehow from Byzantium and later we had ups and downs in the history of Art and how closely related artists were with other countries. And of course, like a number of wars and mishaps historical. Historically, speaking came to play dead, And that as well, because Grace has gone through like a number of very difficult historical periods consecutively, really have the, but I think that's what I've what I usually think about the most is how or ancient history and artistic production seems to be the most well-known, but then everything else. Sort of falls into people's individual interests. Yeah, now in your travels, through Greece, what was your favorite place to visit visually? Like, where when you go there you just go. Oh, this is just a slice of Heaven song that has so many places. I'm sure it's Fallen. I think I've fallen in love a little bit with everywhere. I've been. Yeah, I think though towards the end before moving back to New York I had spent a considerable amount of time in southern and western peloponnese, so around the area of birth. What we call Missy Mia. And that was a truly beautiful area. It had a lot of medieval remains and a very intense history with like Grace's Revolution for Independence in the eighteen hundreds. Yeah. So it's, it was interesting to me to see how people were maintaining their traditional architectures and how nature seem to be so different from, you know, like the cycladic islands that most people are familiar with it's much, more mountainous and green, and I just felt magical driving around those Villages and learning about each place has history is. And you wouldn't think that so many small places would have such a wealth of History. Get like each one had some event to narrate. It's a pivotal part of the World. Civilization is taking place there. Yeah, you know. Answer this question but I'm not sure. Kind of touch on it again a little bit. So I get the impression, both engine. I get the impression that it's your goal to help improve Greek art and its understanding in America, but it's Resurgence if you will. Yeah, that's exactly right. So I basically want to put it in to context and direct dialogue with global artistic movements in production of each artist time because we have for example, we have like wonderful modernists in Greece. One example would be pekus and it's great to put these people back into dialogue with their own contemporaries and, you know, in Europe and America because it sort of creates like a greater continuity in history, and it just seemed as meesh as it might right now. And I noticed that lately, there's also a movement from other groups in that same direction. So, it feels like it's dead. Thing that's growing as well, which is great. Like, for example, we have like art Gaskins residency, that situate artists from America in Athens and now, they're also seeking to go the other way around. So creating a cross-pollination between the two markets, there's Hellenic American project, which has a mortgage sociological streak to it but it Maps, the history of Greek diaspora at Queens College and it also produces exhibitions. We have them American folklore society which is focused on the full Glory historical production in America primarily. So yeah there's there's been a lot of movement lately so it feels great and it feels like it's expanding formidable project for you, definitely. And I know we were talking about Greek mythology when we had your initial phone call log. In to really thought your answer was very interesting. So, I wanted to ask you about that. I know in the United States were exposed to various stories about Greek gods and things like that. But LS, you were experience and thoughts about growing up with Greek mythology, sure so much? Like most of us you start with a kosher version of the month and then the more I grew in the more into history I got the more I wanted to read more and then I became fascinated with how mythologist Joseph intercepted and influenced, you know, more cultures across the world and not always necessarily positively. And of course like especially if you go into like feminist issues that you know, that was a fascinating thing to see and also you know by extension see how artists and people are sort of reacting and responding to it today?.