Ellen, are you okay?
Do you need anything else?
I'm great.
Thank you.
When do you think you'll be finished, so we can come back and get it?
Probably about 9:30.
Okay.
Thank you.
Sure.
I don't think that they will be happy at the Foundation with having the Walker Evans next
to the Cezanne, but maybe we could keep the Walker Evans here alone on that wall and bring
the Hopper somewhere here.
No, I think that, you mean...
Changing.
So, this way the Hopper...
It's keeping the small wall for the...
And the Walker Evans isn't...
Oh, on the same wall.
On the same wall, yeah.
Okay, sure.
That works, yep.
And that works better.
And you know, that makes sense to have the Hopper right at the beginning...
that's the first painting that entered the collection.
That makes sense.
So, number one, it's important to check everything, make sure the components of the mannequin
are correct and that you check off and record on the DK display order sheet that we have
received it and that it corresponds with all the information.
We have like 15-20 mannequins that we need to unpack for today.
And the first thing I want to do is once you open it, let's get all of this packing material
and put it in a trash bag.
Sometimes there'll be paperwork and also a little box of touch up paint or material so
let's just make sure none of that is in here.
We want to make sure that it has all the pieces.
It has the torso, the hands, the legs, the arms.
And for the suits, you need to make sure it's either men or female, man or woman because
we have men and women suits.
And we have Armani men and women suits.
Somebody attached something funky here, like this linen tape to patch it, to patch
the edge, but it's not doing anything anymore.
The adhesive got all, you know, dry and it's not doing anything.
So, in order for me to do a good repair now, I have to lift this up and introduce little
things to start closing it up.
I'm going to do it slowly until I get it together.
And I just keep going back to when people are out there by the escalator, they just
don't know there's a show here.
There's just nothing and like with people milling around and the reflection of the glass.
It's just so hidden and we've had that problem with this gallery for years, you know, people
saying they couldn't find the Warhol show.
They couldn't find the Pollock show.
Sure, sure.
It's just like...you have to kind of, you have to just randomly wander pretty close
to here in order to know that it's here.
Sure.
If we have our weird acid green yet to be discovered and that begins...here.
I'm sorry.
That begins like there and then this is just, it's like a green.
This is, I'm not making creative use of this space, because it feels like you pass through
and then to me it feels like you want either the title or the blow-up on that wall.
Like the head on one and then but I do think you would want outside...
What do you want outside?
Outside a little half something.
Uh-huh.
Here.
No?
Yeah.
That makes more sense because then they're not like in your field of vision at the same
time.
Yeah.
Just a little, I think because you would see that coming up.
You would see it coming this way.
It wouldn't have to be much.
Just “Max Ernst: Beyond Painting," tiny arrow.
Yeah.
And then you round the corner and it's green.
Yeah, yeah, yeah.
And then you're here and you're thinking, "Oh, I need to look for Max Ernst things."
And it's right there.
And you've got it.
That sounds good to me.
Watch your sides.
Good. Good.