There’s no guidebook to it. So when I started, I really didn’t know what I was doing. But it starts with an idea, and then you kind of put a call out and word it as best you can so it appeals to a diverse creative group. I work really closely with curators to go over all the applications and proposals that come in. And a lot of it has to do with whether or not it works and whether the curator likes it and if we can do it logistically. We look at all these things: Is this appropriate? Is it safe? Do we have a space for this idea? And then, based on what the budget is, we can invite people to come do the thing. It’s a lot of problem-solving in between the time we accept these artists and execution. We’re doing this Autospa, [done by] this group from Pittsburgh. You drive through—it’s just a short little drive through this tent—the action takes place outside the car, but you’re seated in the car. It’s like a human carwash. They have water, they have suds, they have dancers, they have all kinds of moving parts. And just figuring out where to put this, how it’s going to work, where’s the water going to go, how are people going to experience it walking by, what is the experience on the inside—there’s just all kind of things that come up in the planning that aren’t necessarily thought of when you first come up with the idea. So that’s part of the process, and then staying on top of everything so things don’t fall through the cracks . . . You pray that everything just works out.