Dan Flavin wasn’t really known for kinetic work. His stuff was beautiful but mostly it was fixed. It was about perception, perceptual relationships. And this was like a gunfire and lights. It was quite beautiful. And so that meant we had to have a 400-foot-long something. So that’s why that big long building. Tom talked to me about — I think he was able to talk to everybody, so he had a meeting with all the contestants and told us what he was dreaming of and thinking about. In my case I think they were different. He tailored it to what he thought each person was doing. In my case he said that if I want the galleries to be more sculptural, less rectilinear and traditional, that he would support that for living artists. He said, for the artists who are no longer with us, “I would like you to think of a more traditional gallery. But they don’t have to look like everyone else. You can turn them into something that you can do with them.” So that’s the plan of it. I brought to it the inclusiveness with the city so that as you walk from gallery to gallery, you’re always looking out at the city. And when you get to the center, you’re like in a space that’s part of the city. And that’s because of going to the Met so many times and being sort of claustrophobic and spending four hours going from gallery to gallery with no relief. The work was incredible. I came out drenched. I didn’t want to go to sleep. It was hard to. So I felt like in Bilbao that there is some visual virtue in the city, the hills around the bridge, and I assumed that they would clean it all up eventually, which they did. And it would be a big asset for the viewing of art. So that’s what led to the building.