I think, the process is kind of intentionally as flexible as I can make it. Obviously, I’m – because I do work with – as I’ve like mentioned before – industrial fabricators, it’s, like that part becomes inflexible. But everything else I try to leave as kind of open as possible, whether that’s, you know, I – That’s me having an idea and making a, like making an Instagram post or something that becomes part of the work or like a stand-alone website or something. I think that, like, as much as I have, what I refer to as series and I work often within like – often like the confines of one idea, kind of over and over again. I like to let what happens within that idea, be as kind of like flexible as possible and let it go wherever. Or, if it feels kind of appropriate, at that moment and I think because – Like, you get to process, but that like art practice never really made a lot of sense to me, like yes, you can go in and like practice your art as in, like, producing things that are within your style or whatever or doing like just – I guess – continuing to make content, make more or something. Because I alter my installation views, you know, I started this process before, certainly before Instagram was like very popular and before we had quite the same relationship to like social media image sharing, so now, when I like post those things on my website or whatever, I put the, like, altered abstracted installation views into like a book or send-to-press[?] or whatever. Those like kind of existed one media life and then I wanna click[?] like the actual traditional representation, like straight photographs of the work, is mostly, like mostly ends up being posted by people who just go to a show. So, if you like search my name or search the series or whatever on social media, you’ll see like actual representational images of like what the objects look like, because people are going to shows and taking photos of them, which is interesting because it kind of like displaces the, like that type of traditional documentation onto the viewer. Not necessarily intentionally, but this is just like something that happened, basically, that I find interesting. And so, as a result, you know, it’s this like continual engagement, I think. Because it’s not necessarily that like we’re ever – you know, it kind of never really ends, or it doesn’t have to.