But I think, you know, that kind of hindsight for what it was presents possibilities in the future for what the people involved within it could make going forward.

I'm going to be a little bit of a hammer here.

I think Dime Square is part of what I want to define as a broader neo-decadent movement.

And I think that the common denominator between the early Kirak work, maybe somebody like Sam Hyde as well, Other people, not purely interested in contemporary art, is basically a persona.

It is a performance art of a kind and usually a very complex relationship to creating art at all, because it's questioning.

I think we had, like, you could say we had the zombie formalism period, which is basically what Kierak 8 with Simcovich is about, which are, you know, refurbishers, refurbishing of older artistic strategies, visual strategies, and then usually in a kind of pun way, so it's more of a white cube, echo of, you know, movements that have already been in a new light.

You could say it's the formal formalism, you know, like abstract expressionism, then you have Dan Colen doing the bird shit paintings, you know, which are actually kind of funny.

But it seems that you still very much think it like a worthy pursuit to try and approach the institutional art world and at least challenge it.