So this balance of the local and the global is something that we continue to toggle back and forth with because we don't want to ignore the great work that's being done here in Chicago by our Chicago artists and performers, but also we know that they want to be put in context with their global peers, so it's a mutually beneficial situation, I think, when you can continue to go back and forth between the local and the global and to keep an equal balance there. So I think that's one way of making the MCA feel unique and generic to Chicago itself and not look like a cookie-cutter museum that you might find anywhere in the country. So keeping that special Chicago flavor is something that I think is very important and I think is a way to kind of combat ideas of global genericism in a way that where everything starts to look and feel the same.

What I really want is a team of curators—that helps the museum fan out across the world and look at things that are happening all over the world from different viewpoints. So if everybody looked at the contemporary art world the way I did, we would have a very narrow viewpoint. So the curators that we've assembled in our team really allow us to cover the broadest territory and bring back lots of perspectives, and it also creates a fantastic dialogue where everybody is learning from each other and expanding each other's perspectives. And so we have curators whose interests, you know, are in Latin America, in the Middle East, in Africa and African diasporic arts, and we've looked periodically to Asia as well, as well as keeping track, of course, of everything going on in the United States and in Europe, so it's been really fun to try to pursue a very kaleidoscopic view of contemporary art.