JM-A: Yes, exactly. These are women who have in many cases fascinating life stories. But the way that art historians have always talked about these paintings-and, I will say, mainly male art historians-is "Oh, isn't it interesting that there was such a style. You can't tell any of these women apart. They all look alike." Well, that was actually part of the artists' intent because, just as we now have a style that is prevalent, it was fashionable to look like the king's mistress. It was not only fashionable but it was also politically expedient to look like the king's mistress. The difference is that we don't sit in the same room with these women while their portrait is behind them, so we can't make that connection between "that's a good portrait, it looks like you," or "wow, that works really nicely." We don't have that connection. I'd liken it to, in the '80s and early '90s, the big models were Naomi Campbell, Kate Moss, right? So I know exactly who they are. You talk to my dad, and he couldn't have told you who they were and [so] they all look alike. So how is that any different in 1985 than in 1685? It's the same thing. It's about understanding, about the way in. That's using my little example from my speciality to say that I'm really interested in that issue of access and making something appealing that seems completely inaccessible and uninteresting. "Really? These paintings that look like, as someone said, ladies who are walking through a stream in a nightgown held by a pin." Which is why they are so interesting. Why are they outside? Why are they wearing a nightgown that is fastened by a pin? I think if I can have someone come in and get interested in something, they think they have no interest in, that is a win. It can get people to think about how objects do have lives. We live in this digital world where everything is "like" something. You're on your phone looking at this painting but it's actually not the painting. My goal in pushing our collection out, in Gary's vision-which has been achieved in that we're still doing that, we're pushing a lot of material out-is to get people to come in and experience the real object. So you can have access in Singapore, but when you come to Baltimore, you should want to see the real thing. So everything should drive you back to the object.