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<\/figure>\n<\/article>\n<\/li>\n![](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/05\/L9170355.jpg?w=400\")
<\/figure>\nHow long have you been working with the Young Collectors Council? How has it been for you as one of the organizing curators for the Young Collectors Council, who works directly with the group to make acquisitions?<\/strong><\/p>\n \n\tI\u2019ve been working with the YCC since 2020. There\u2019s just this fantastic energy in the group and a lot of that comes from the members themselves. They\u2019re curious, they\u2019re knowledgeable, they\u2019re hungry. They want something new; they want to learn. They have perspectives\u2019 they have great questions. In terms of what we acquire, it\u2019s long been dedicated to emerging artists and it\u2019s open to experimentation. We\u2019re really thinking about artists engaged with what\u2019s going on in the world, who are thinking about new manners of making work. And a lot of that sense of openness of pushing boundaries is complemented by the group\u2019s appetite. I\u2019m just happy to get to be around these people and to get to bring in these incredible works into the collection.<\/p>\n How would you characterize the priorities of young collectors today? What do they care about? What are you noticing that is maybe different from previous generations of collectors? And what possibilities do you see with this new vanguard of young collectors and supporters of the arts?<\/strong><\/p>\n \n\tElle, your second question is really hard. I don\u2019t think that there\u2019s necessarily one thing that really characterizes young collectors today. There\u2019s such a diversity of perspectives, of priority, of areas of interest. But I do feel like actually that there\u2019s a real openness to possibility throughout the group.<\/p>\n \n\tThat said, we\u2019re living in a moment where there are so many different possibilities for how work is created, what work can look like, how work can communicate, and the kinds of subject matter that work can take on. Collectors are feeling that plurality of possibilities. They\u2019re responding to what really speaks to them now which is really individual and I think that creates a very interesting landscape. There\u2019s not necessarily one dominant trend as we may have seen in decades past but a sense of individual personal engagement that creates more chances for intimacy within the collector base that I think is really thrilling.<\/p>\n<\/div>\n<\/article>\n<\/li>\n Tell me a little bit about Voyager, your recent piece that just opened in Venice.<\/strong><\/p>\n \n\tIn Venice, I made a work that hypnotizes you. There are private\u00a0 isolation booths, and when you enter and put on headphones, an AI voice speaks to you and hypnotizes you.\u00a0<\/p>\n Woah. So you are thinking of the mind itself as your material?\u00a0<\/strong><\/p>\n \n\tI\u2019m also currently working with neuroscientists doing experiments on my brain, and trying to figure out if we can make some art out of it.\u00a0<\/p>\n Congratulations Trevor!<\/strong><\/p>\n<\/div>\n<\/article>\n<\/li>\n Congratulations on tonight! Diane Severin Nguyen\u2019s commissioned piece looks great. What was it like to put this year\u2019s party together?<\/strong><\/p>\n \n\tI\u2019ve been one of the three co-chairs of the YCC this year, but I\u2019ve been in the group for probably six years, and I\u2019ve seen it really develop. I think this party, especially the partnership with LG Spotlit and with artists working in the digital space, has been so unique. And I\u2019m such a mega fan of Diane. I think she did a fantastic job. The way that the music, the artist, the award, the whole aesthetics of the evening all came together is so seamless.<\/p>\n Obviously, the party is a big deal. But what happens during the rest of the year with the YCC?<\/strong><\/p>\n \n\tWe meet as a group twice a year, in the spring and fall. We make serious acquisitions and decide and vote on artists who enter the collection. It\u2019s such a cool, transparent process: we attend a presentation from the curators, and often, we\u2019ll have a studio visit with an artist so we really understand the behind-the-scenes. After having a professional working in a museum, seeing what it\u2019s like to keep tabs on somebody, joining them in the studio when it\u2019s the right time to acquire something, and we put it to a vote. The process feels like learning about the secret sauce. No other young group does anything like this.<\/p>\n \n\tRemoving that kind of barrier to entry, is sort of like Pandora\u2019s box is opened. You can really understand the inner workings of what the curatorial teams are thinking about when they bring somebody into the institution and how they see their responsibilities to the other artists in the collection that they\u2019ll be in conversation with. That is definitely, to, what makes being a part of the group really stand out and shine. This is an amazing party, but those meetings are really what makes me stick around.<\/p>\n What\u2019s the size of the group and many people are in those acquisition meetings? Have you made friends?<\/strong><\/p>\n \n\tYes, I definitely have made friends. I feel like we average around 50 people. The meeting is in a big auditorium. It feels on the intimate side. It\u2019s the perfect size where we really have a dynamic dialogue around why we\u2019re voting on certain things, or what we\u2019re all falling in love with. We\u2019ve even had debates where we disagree on collecting work and that\u2019s always really interesting. Although normally, we\u2019re a pretty aligned group.<\/p>\n What do you feel like the priorities of young collectors are? What are they thinking about right now and what are their hopes for the future?<\/strong><\/p>\n \n\tWell that\u2019s a big question. It\u2019s hard for me to generalize. But you\u2019re a photographer. I\u2019ve always worked in photography. I used to work at Aperture. I started my collection with prints and photographs.\u00a0<\/p>\n \n\tPhotographs and printmaking and the process\u2014I mean Print Week and IFPDA have kind of blown up\u2014show that the\u00a0 way we think about mediums has kind of changed. These are just more accessible mediums for collecting. I know a lot of people who have started collecting photographs as their first entrypoint.\u00a0<\/p>\n \n\tI think also ceramics, weaving, a lot of these different materials that might have transcended craft and are still entering the art market in a serious way. You can still buy really beautiful ceramics for under $5,000, under $2,000. Also, friends are supporting friends who are in the art world with trades. I\u2019ve done so many trades, exchanging PR for art, which is totally my way of working.<\/p>\n \n\tIt\u2019s all about getting creative with what you have, whether it\u2019s a skill or service that you can trade or actual coins.<\/p>\n I would trade with a lawyer!<\/strong><\/p>\n<\/div>\n<\/article>\n<\/li>\n How long have you been involved in the YCC, and what\u2019s your favorite thing about it?<\/strong>\u00a0<\/p>\n \n\tI am going on year four. My favorite thing is that we get to acquire the works of emerging artists into the permanent collection. It\u2019s not very common to do that across the different patron groups, so it\u2019s allowed me to train my eye to become familiar with the excellent artists that are working on the ground, and to be plugged in.<\/p>\n How do you feel your \u2018eye\u2019 has grown?<\/strong><\/p>\n \n\tOne of the biggest things for me was being able to not just look at a work and interpret it for what I see, but also appreciating the context and how each work speaks to other works in a collection. And not just at an institutional level, but also thinking about a personal collection, like the one that I\u2019m building for myself. I want my works to speak to each other at different points of my life, about what I am experiencing in my life at that moment.\u00a0<\/p>\n Is there an artwork or artist that you\u2019re excited about having recently brought into your collection?<\/strong>\u00a0 What brought you here, and what makes you excited about the YCC?<\/strong><\/p>\n \n\tWhitney: This is my third year being involved in YCC and it\u2019s been a wonderful community that supports local and global artists. We don\u2019t live in New York so we don\u2019t get to go to everything, but there are a lot of events within New York City, whether it\u2019s studio visits or the openings of other institutions. It\u2019s really nice to see that this program doesn\u2019t just support what\u2019s going on in the Guggenheim but they\u2019re also supporting the arts community as a whole, which is unique.\u00a0<\/p>\n Where do you live if you don\u2019t live in New York? Are you involved in institutions there?<\/strong><\/p>\n \n\tI live in Fort Lauderdale with my husband, Matthew Lane, in Florida. Other institutions that we\u2019re involved in are the NSU Art Museum in Fort Lauderdale, and the Institute of Contemporary Art in Miami.<\/p>\n Florida has such an incredible arts ecosystem. I went to MICA, and so many of the top artists in our school, like almost everybody who got full scholarships, came from schools like Dreyfoos, DASH (Design and Architecture Senior High) and New World School of the Arts. It was something that, honestly, as a kid from New York, I was a little bit surprised by, and maybe a little bit jealous of, but also felt it was amazing that there was so much investment in the arts and in that early of education.<\/strong><\/p>\n \n\tHistorically there was a small but mighty group of collectors in Florida who advocated for the Art Basel Fair to come to Miami when they were looking to expand outside of Basel. I believe that a lot of what has happened in Miami is related to Art Basel. In a way it has been the foundation for everything else that has grown in this city. So many businesses are moving there. A lot has changed, and I really feel that the seed was the arts.\u00a0\u00a0<\/p>\n Are there any emerging artists you are particularly excited about right now? Name some names, shout some people out!\u00a0<\/strong><\/p>\n \n\tYes! One of the reasons I love YCC is their support for emerging artists. At the NSU Art Museum, we started a program called The Curator Circle that also, as part of the membership, involves emerging artists. One of those artists in the first year was Zoe Schweiger<\/strong>. She actually just got accepted into Yale so she\u2019ll be going there in the fall. I\u2019m giving a shoutout to her and I\u2019m really proud and excited for her. Another painter that I\u2019m really proud of is Thomas Bils<\/strong>, who is from New World in Miami. I\u2019m looking forward to seeing his career skyrocket. And Susan Alvarez<\/strong>!<\/p>\n<\/div>\n<\/article>\n<\/li>\n How did you come to join the Young Collectors Council?<\/strong><\/p>\n \n\tI actually volunteered at the Guggenheim when I was in high school. I was working with kids, and it was an amazing way to engage a younger generation. I remember going to the museum with my parents and absolutely loving it, so I felt bringing kids into an exhibition in a way that they could understand was really important.<\/p>\n \n\tWhen I graduated college, I wanted to rejoin the Guggenheim community because I absolutely loved it. It\u2019s my first few months in the YCC, and I\u2019m sort of getting up to speed but loving all of the events so far.\u00a0<\/p>\n \n\tIt\u2019s just a really exciting time in art, especially with the rise of technology. We\u2019re seeing people change how they see art, how they appreciate art, and how they are bringing new communities to appreciate art as well\u00a0<\/p>\n What artists are you excited about right now?\u00a0<\/strong><\/p>\n \n\tI saw the Jasper Johns show Gagosian a couple months ago, and absolutely loved it. I\u2019ve always loved his work. This Carol Bove exhibit is obviously the buzz right now and is absolutely amazing\u2026 I\u2019ll let you know after the next few days if I discover any new artists!<\/p>\n Do you have a favorite piece from the Bove show?<\/strong><\/p>\n \n\tMy favorite part about Bove\u2019s works is the fact that at first glance you think it\u2019s quite fluid. Then when you go closer you realize that it\u2019s created out of this very strong material. I think that juxtaposition is really beautiful, and it really mirrors what we see in everyday life and in the world right now. Hopefully it can inspire a lot of people to see the nuances in what is out there.<\/p>\n<\/div>\n<\/article>\n<\/li>\n How have you been developing your approach to collecting art?<\/strong><\/p>\n \n\tI\u2019m trying to collect from my friends. I\u2019m an architect, and I feel like in architecture school you take a lot of other classes that are not the main studio course, classes that make you do a lot of exercises and small drawings. At school I used to ask my friends, \u201cYou\u2019re done with your assignment, right? What are you going to do with your drawing?\u201d and they\u2019d say \u201cOh I don\u2019t know, I\u2019m just going to leave it<\/em>.\u201d and I\u2019d be like, \u201cWow! Let me keep it.\u201c<\/em>\u00a0<\/p>\n Do you have a recent favorite piece you have brought into your collection?<\/strong><\/p>\n \n\tMy most recent favorite? Well, my boyfriend got me these wooden sculptures inspired by Taino craftwork from the Dominican Republic. I feel like that\u2019s very close to my heart.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tWe love your work!\u00a0<\/p>\n The collage work that the YCC collected from me is one that a lot of collectors have had a hard time with because it is a mixed media work. It isn\u2019t behind glass, so it can seem a bit vulnerable. A few years ago, I was at an opening and a couple\u2014they might have been in their early 60s\u2014came up to me. They were like, \u201cLove the collages, but call us when you finally put glass on them.<\/em>\u201d I was like, \u201cIf I put glass on them, the whole experience would be ruined<\/em>!\u201d<\/strong><\/p>\n So, after that experience, I felt it was really cool that the YCC voted to put money toward a collage. And it was especially meaningful because <\/strong>Devotions II (2018\u201323)<\/em><\/strong> is one of the pieces that was transformational in my own practice. Collecting \u2018difficult\u2019 or \u2018unruly\u2019 work sends positive signals to other institutions, as well.\u00a0<\/strong><\/p>\n What about the YCC makes that possible?<\/strong><\/p>\n Valeria<\/em>: I feel that [is possible because] we are the future of art. Future curators, future museum directors, future collectors\u2014if we\u2019re lucky and if we work hard enough!\u00a0<\/p>\n Who are some artists you are really excited about right now?<\/strong><\/p>\n Victoria<\/em>: I really like the Storefront for Art and Architecture program in Nolita. I think they\u2019re doing amazing things, especially with emerging artists and architects. I just saw a show there called \u201cBlack Fire!\u201d by artist Thandi Loewenson<\/strong>. She\u2019s a Zimbabwean artist who is exploring UFOs in Africa. I also really enjoyed the show that just closed, \u201cPerforation, Ellipse,\u201d by Allison Nguyen<\/strong>. She\u2019s based in New York. She\u2019s incredible! I love their program. They have very amazing work. I always learn every time I go there.<\/p>\n<\/div>\n<\/article>\n<\/li>\n Thanks for letting me take your picture!\u00a0<\/strong><\/p>\n \n\tPhotography was actually my entry into the art world, and I remember trying to take photos of people, and just being like, \u201cOh my gosh, you guys are so stiff!<\/em>\u201d and thinking \u201chow do you make them relax and look good on camera?<\/em>\u201d So me, being the stiff one with you taking photos, I\u2019m like, \u201cI know you\u2019re the artist because you\u2019re good at that and professional and incredible. That\u2019s why I\u2019m the art advisor and not the artist!<\/em>\u201c<\/p>\n Haha, thank you! Tell me more about being an art advisor\u2014who do you advise, and what are you telling them to look at?<\/strong><\/p>\n \n\tI work for an advisory firm that\u2019s LA and New York based, Victoria Burns Art Advisory. This [Frieze week] is the most fun week for us because we just get to go around and see everything, chat with people, talk to artists, and show our collectors what is exciting to us right now.<\/p>\n \n\tMy favorite booth at Frieze this year was the Antoni Miralda<\/strong> booth at Galerie Champ Lacombe because it was this piece of cultural history that I knew nothing about. This artist was promoting unity and love and dreaming up what would happen if two big public monuments got married, which is so whimsical and silly. It really does speak to the moment that we live in: Let\u2019s come together and celebrate love and cross-cultural connection. In the 80s, he did these parades in New York, that were showing us something new and fresh and that made me excited.\u00a0<\/p>\n There\u2019s all this talk these days about where to find young collectors. Where are they?<\/strong><\/p>\n \n\tI think the young collectors are at the Guggenheim and at all of our institutions. That\u2019s the beautiful thing about living in New York: there are so many institutions to support.\u00a0<\/p>\n Are there any other institutions that you support?\u00a0<\/strong><\/p>\n \n\tOn top of being an art advisor, I\u2019m mostly involved in the Guggenheim. But I will say that I hope to join the Jewish Museum\u2019s Young Patrons Group. I love that museum. I think the Joan Semmel <\/strong>show is amazing so everyone should go see it!<\/p>\n \n\tI need to get more involved, I guess! But I think the Guggenheim Young Collectors Council is really special because you feel like you\u2019re making a real impact. We have an acquisition fund and get to acquire emerging artists. We get to feel like the institution is moving into the future. We\u2019re young and involved and looking at the artists of your generation, who are going to have a legacy for many decades to come.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n What\u2019s been the best part of your night so far?\u00a0<\/strong><\/p>\n Grace<\/em>: It\u2019s actually one of the best museum parties to meet people. We were just talking to a couple of strangers upstairs. I just met Henry, who\u2019s in fashion, and he\u2019s also part of the YCC. He was just telling us how he spent all day today on the Upper East Side at TAFEF and at the Frick collection, and now is at the YCC party tonight.\u00a0<\/p>\n \n\tAsk Nat. He\u2019ll have a funny answer.\u00a0<\/p>\n Nat<\/em>: I\u2019ve been really excited to see the Carole Bove show. Her work is so sexy! The sculptures are just so supple, and the way that it makes you imagine the techniques behind it, the materials, the logistics\u2026\u00a0\u00a0<\/p>\n \n\tIt also just, in a very intuitive way, hits you immediately without any need for explanation whatsoever. Carol\u2019s work is just unbelievable, and she\u2019s everywhere. She rules Queens. We live in Long Island City and she\u2019s over at the Sculpture Center on the board, making a presence where we live as well.\u00a0<\/p>\n Shoutout to Queens!<\/strong><\/p>\n<\/div>\n<\/article>\n<\/li>\n What are you wearing tonight?\u00a0<\/strong><\/p>\n \n\tI\u2019m wearing a vintage Dior 1970\u2019s suit that I found in Glasgow for a deal. I think it was made for me in a past life.<\/p>\n What was the last piece of art that you bought? Feel free to lie.<\/strong><\/p>\n \n\tA Klimt! Just Kidding. My most recent purchase was a piece from Morag Keil, a Glasgow based artist.<\/p>\n<\/div>\n<\/article>\n<\/li>\n When did you get involved in the Young Collectors Council? Have you been involved for a long time?<\/strong><\/p>\n \n\tA year ago I was starting to think about how I could become more involved with art groups in the city, specifically ones that are involved in influencing and shaping collections themselves.\u00a0<\/p>\n \n\tI have some friends who are part of other groups around the city, for example, MoMA\u2019s Black Arts Council, etc. So we were also kind of thinking collectively, \u201chow can we diversify and make sure we\u2019re making an impact?\u201d<\/em> Like, first and foremost, let\u2019s be strategic here! [Laughs]<\/p>\n Was that strategy part of why you chose the YCC specifically?\u00a0<\/strong><\/p>\n \n\tOne thing I did notice was that, at least as far as I know, the Guggenheim doesn\u2019t necessarily have a dedicated Black-specific group. I\u2019d heard a lot of great things, but I was also thinking, \u201chow can I become part of something that at least helps to add a voice into the things that they are acquiring?\u201d<\/em> That was when I decided to join YCC specifically.<\/p>\n \n\tAlso, the fact that you can literally bring forward the names of artists you\u2019re following is absolutely fabulous. You get to be able to bring them forward and start a conversation that maybe they wouldn\u2019t have had before, even if it\u2019s just an initial conversation.\u00a0<\/p>\n \n\tThat was also part of what drew me to YCC: there is a big educational element. You can ask a lot of questions of the curatorial team and learn so much from them about how and why they choose certain things, and how it fits not only with an artist\u2019s work but also within the broader body of the Guggenheim collection and the network of museums.\u00a0<\/p>\n Do you have your own collection?\u00a0<\/strong><\/p>\n \n\tI literally just started collecting maybe a year or two ago!<\/p>\n What brought you to collecting art?<\/strong><\/p>\n \n\tI\u2019ve been interested in the arts since I was very little. My mom always used to take us to museums on Saturdays growing up. I grew up in Massachusetts and we would always be like, \u201cLet\u2019s go to a museum!\u201d For a long time, I\u2019ve been going to art fairs and then finally, I started to buy some stuff a couple of years ago at the Affordable Art Fair, where you can literally begin with $100. It\u2019s a very accessible entry point. I started to do that and started to attend more things to understand: What is \u2018my taste\u2019? What are the things that are speaking to me? What are the things I want to see more of or learn more about?<\/p>\n \n\tI started with the Affordable Art Fair and then from there, found other upcoming artists, like Valerie Prosper<\/strong> in Toronto, who\u2019s become a dear friend of mine and does incredible work. She\u2019s a Haitian American artist doing work around fertility and motherhood and her view of womanhood while dealing with longer-term illness. She works in literally all types of mediums, everything from collage, painting, sculptures, embroidery, textiles, and she\u2019s just so talented and so cool.\u00a0<\/p>\n \n\tIt\u2019s really important to me to have in my apartment, especially if that art is of people, of figures, who are minorities. I want to see and have black and brown art on my walls!<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tAt midnight, the party committee headed over to the official afterparty at Casa Tua to continue celebrating. The vibe was warm, easily conversational, and friendly.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tSo, what are<\/em> the Gen Z collector\u2019s priorities? After a night of interviews, I\u2019ll do my best to characterize:<\/p>\n \n\tYoung collectors are hungry to be involved in institutional decision making. They are ambitious, thoughtful, and passionate. They have a deep desire for knowledge, and want to learn as much about a work\u2019s context and art history as they can. They want o find and listen to artists and To support \u2018difficult\u2019 work, including mediums like photography and ceramics and artists from historically underrepresented communities.\u00a0<\/p>\n \n\tThis new vanguard of collectors doesn\u2019t just want to sustain the art world as it is. They don\u2019t want to leave the future up to the whims of the \u2018unseen forces\u2019 in the world. They want to use their growing power, influence, and capital to make big moves. They want to actively shape the future of art. They want to make the art world a genuinely better place for artists and audiences.\u00a0<\/p>\n \n\tAfter a night of glimpsing the future, I found myself eager for it to arrive.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n [analyse_source url=”https:\/\/www.artnews.com\/list\/art-in-america\/columns\/elle-perez-gets-personal-with-the-next-gen-collectors-changing-the-art-world-1234786698\/”]<\/p>\n","protected":false},"excerpt":{"rendered":" [analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/05\/L9160944.jpg?w=1024″] Where are all the Gen Z collectors these days? Last Thursday, May 14th 2026, they were at the Guggenheim celebrating the 30th anniversary of the YCC (Young Collectors Council).\u00a0 I became aware of the YCC when they brought my work into the Guggenheim collection this year, and I grew very curious about […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[61,226],"class_list":["post-1949780","post","type-post","status-publish","format-standard","hentry","category-politics","tag-artnews-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1949780","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1949780"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1949780\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1949780"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1949780"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1949780"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/05\/L9160694.jpg?w=400\")
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I\u2019m Trinidadian, and I went to Trinidad earlier this year and collected the work of a very young talented artist, Siegel Bascombe<\/strong>. She\u2019s amazing! The work focuses on women that are in community with each other, relaxing together, and that\u2019s a big theme in my life. I feel like I\u2019m relaxing every time I look at it.<\/p>\n<\/div>\n<\/article>\n<\/li>\n![](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/05\/L9170435.jpg?w=400\")
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