And I feel like that's kind of, if you think of a creative way to be inclusive in that scale, like, I find it so inspiring to-

It brings me back again to the, this focus on, on place and building, no? On a specific location in a specific building, a specific materiality for, I think at the very core, the role of institutionalization, and that with that comes a validation that is necessary in order to be part of a certain culture, [chuckles] no, I would say.

And to even, like, I mean, most of our work is in museums because it's where the funding is, in institutions, no? Like, the way to distribute funds is through institutional channels, and that all comes then back down to place.

That is one of our biggest, um, areas of interest and struggle.

I come from the north of Spain, where there's a huge museum that has no funds, [laughs] and, of contemporary art, for example, and design.

So th-there is place, but there is no money.

You have various, uh, items in, in these variables, and all need to be fulfilled in order for things to happen, and this isn't the same in academia, where maybe instead of culture, we're speaking of knowledge, no, or knowledge production.

I guess theoretically they could be reconstructed, but, um, it's important to consider yourself somehow with the future archive that will be collected being part of this perspective now.