Good morning, everybody.

Good to see you everyone.

We'll just kick it off.

We'll go to the approval of minutes for December eleventh, two thousand twenty-five meeting.

Okay, all in favor.

Any opposed?

Okay.

Beneath that we have the liabilities at 96 million.

Most of that is again the bonds that were issued.

I would like to make note of the 2.5 million in retainage.

That amount will fluctuate as the construction continues and nears its completion.

That should dwindle over time.

Beneath that we have the income statement and expenses.

Again, most notably is the 3.6 almost 3.7 million of interest earns from the bonds.

And then finally, below all that is the income statement in debt, which again shows the TIFF payment we received last year, as well as the debt interest payments on the bonds that were received.

Are there any questions over the balance sheet and income statements?

If not, we can move on to the next page, which shows I'm sorry.

One second.

I'll just I just want to um thank you for the revised presentation.

It's much more understandable.

Um the income statement and the income debt.

Uh the question.

I I I guess I'm a little confused with the name when it says income statement.

Does that mean we've collected for more than we brought in?

Where is that coming from?

Or is it just money in and money out?

It's sort of cash in and cash out.

Yes, that's to show the cash that was received that was brought in, and then some of the expenses that were uh expensed out.

But we just wanted to also break out beneath that the income statement showing some of the debt from the interest payments as well as the TIFF income.

We just wanted to kind of break that out so that it was a little easier to parse and read.

Well, thank you so much for the clarification.

Yeah, it was just more of a highlight.

Got it.

Okay.

And that that's because you have money coming in from the industrial development board on the TIFFs here into this funding for the I guess the sports authority financial report, correct?

Some of it, yes.

So the 10 million, or actually, I'm sorry.

Yes, the 506.

Yeah, no, I'm sorry.

That's that's the because of the IDB TIFF, correct?

I believe so.

Yes, the 506,000.

Yes, yes.

Looking at the very bottom, the TIFF, yes, that's correct.

Yes, sir.

So it's coming from another uh entity here that would be coming in because of the tax increment financing.

Yeah, that's correct.

All right.

Okay, I guess since you brought that, I kind of what it doesn't show is the excess or the surplus of ins versus out.

Unless I add them all up.

Correct.

And we'll eat the presentation or reading that net difference is what I would look for.

Okay.

We can we can include that next time as well.

All right, but again, thank you very much.

This is much, much better.

Thank you.

Thank you.

Uh if we can move on to the next page, then shows more of the budget presentation of um the first column above is the stadium budget of 115 million.

To the right of that shows the encumbrances and actuals.

Uh again, this is as of January 2026.

Uh, there may be a typo I showed January 2025.

Uh but the far right, we show that uh of from the amount remaining, 77% of the budget is complete.

Beneath that is the public infrastructure, which again is the West 26th Street.

Uh the budget for that was 10 million, and as you can see at the far right, 64 percent of that is complete.

Are there any questions regarding that statement?

That that's not showing on our screen, so we were just it should be the next page.

The hard copy works, no problem.

Okay, as long as that network.

Thanks.

All right.

Well, in total for the whole project, it's 76% complete, according to the budgeted amount.

Are there any other questions?

So thank you.

We're not behind anything at this point that's 76% complete, and completion is estimated to be sometime uh this spring.

Well, I believe uh Clay may be able to answer that more uh in detail, but yes on the numbers.

Okay, sir.

So we think we'll be within budget when it's completed.

Again, I think Clay may be able to answer that more in detail.

Yeah, okay, all right.

All right, thank you.

Well, thank you so much.

Thank you.

Um, we'll move on to presentation of February progress support by public works.

Hey, uh, so I'm Clay Oliver.

I work with Chattanooga Public Works.

I'm filling in for Bill Payne today.

Uh, here to present our February progress report.

Uh, first the construction update.

Uh, we've been working through the field installation.

We've got our base of sand down.

We actually started putting sod down, I believe, yesterday.

Uh, we've also finished the ribbon board installation along the powerhouse, the pattern shop, the third base building, and since I've made this along the left field wall as well.

That's your video boards that show the score and everything else, tell you when to cheater.

Um, we've switched over from temporary to permanent power, and we've also started the team store installation in the shed building that is progressing pretty well.

Um plate and powerhouse buildings.

We've finished the elevator in the pattern shop, uh, working through team offices and the pattern shop.

We've actually completed those, moved furniture in and gotten a temporary certificate of occupancy for team use, so they're actually in there in their offices working now.

Uh on the public infrastructure side, the river walk concrete and the rubble gardens are being installed.

Uh, West 26th Street and Pipe Way both have curb and binder.

Uh, the storm water, all the sewer that needs to go in for this is has been installed, and we are uh waiting to pave everything till closer to opening day since we're still using it for construction traffic.

Brings us to our budget tracking update.

Uh, as has been the case for most of the project, we're tracking very close to our cash flow estimate from the beginning of the project.

Uh, to answer your your question, we're feeling pretty optimistic that we'll bring it in within budget and uh opening day.

First pitch is April 14th.

West 26th Street and site preparation update.

Uh as you can see, we've spent out all of our stormwater and wastewater funds.

Uh we're what is that a hair under 40 percent through the West 26th Street General Fund.

Uh, that includes all of the work for the river walk, uh, the the paving, the actual construction of the the surface road.

Uh and then as far as site preparation goes, we are at 7.15 million out of the 10 million.

The team supplied items.

Uh the team has supplied request notices for a total of about 15.3 million dollars.

They've submitted draws for about 5.1 million of those dollars.

Uh so they have about 3.6 million dollars remaining in their budget to to write contracts and finish this thing out.

They have a lot of the the end of project thing that all the furniture, the weight room, that kind of stuff that can't go in until the project's mostly done.

So that's why they still have some outstanding budget left.

And that's all I got for today.

So financially, you're about 76% complete.

Um construction-wise, because it doesn't necessarily correlate with the dollars.

Are you following along or those two be about the same?

So this is construction.

I believe Paul's number probably includes soft costs to the architect and everybody else.

Right.

So you would say you are about 80%, 75%.

It sounds about right.

All right.

Can't wait to throw the first pitch.

Rich isn't here today, but I'll talk to him about it.

Well, I assume we'll be operational by April 14th, but will there be ongoing construction going on?

Yeah, so we'll be going through punch list for a little while, uh, going through cleaning stuff up that got damaged, say during construction.

Um, and we're also starting to kind of look at things that may not need to be done day one.

You know, maybe we don't have to paint that utility closet.

Let's go face a paint a client-facing area, that kind of thing.

So, yeah, we'll we'll be out there for a little bit after opening day.

Anybody else?

Appreciate the update.

Yes, sir.

Okay, item six a resolution authorizing the city engineer to direct payments of the remaining unencumbered stadium budget amount of 307,486.33 cents for final stadium expenditures to the appropriate vendors, including existing consultants and contractors to the sports authority, or to reimburse pipe properties LC foundry developer LLC or shadow professional baseball LC for reimbursement of eligible stadium costs in accordance with all financing documents previously approved by this authority and directing the city engineer to report on the distribution of these of these remaining unencumbered funds at a future meeting of the authority after project closeout acceptance of infrastructure and the approval of a certificate of occupancy by the city.

Come back just in case you have any questions.

Explain uh so that 307,000 was it 4683, I believe, um is the outstanding is the remaining balance of the 86 million dollar budget.

We've only gone out and written 85.7 million dollars worth of contracts.

So this 307,000 dollars is just gonna give us some flexibility at the end of the project to um if we need to pick anything else up that we don't know about, you guys don't meet again until after well week before the first pitch, I think.

Um so we were just gonna go ahead and ask for this money so that we can write contracts and we'll come back and tell you exactly how we spend it down to the penny.

So it's basically to allow to spin this without the usual purchase and process.

Yes, ma'am.

Okay.

Yeah, just because you guys don't meet that often.

And this is also what the city engineer has been looking over this whole project, and and you and and Bill have been monitoring, correct?

Sir, okay.

And you're not gonna spend some unless it needs to be spent, correct?

I hope not.

Okay.

I won't.

All right.

And if they bring it back to us and don't approve it, Bill has guaranteed that it'd be covered out of his personal account.

I'll talk to him about that one.

No, um for a contract is large, 80 plus million 300,000 cleanup.

Yes.

Um, it's not unreasonable, but we do have purchasing rules to follow, so we appreciate you bringing it forward.

Is there a motion to approve that?

This resolution to approve.

Is there a second?

All in favor?

Aye.

Any opposed.

Okay.

The resolution is approved.

Move on to item seven.

Presentation update on the public art process.

Projects underway in future projects planned for the South Broad Erlinger Stadium.

Hi everybody.

Um, I'm Kate Kearney, manager of Public Art Chattanooga with the city's Office of Arts, Culture, and Creative Economy.

Um, I'm new to the city as of um this past August, but I am returning.

So happy to be back overseeing public art with the city of Chattanooga.

Um, just wanted to give you all uh a brief overview about um the process that we've gone through with the public art capital dollars that have been allocated to the stadium in the South Broad district.

Um we're very excited that this has been thought of um as integral to this project, but we were up against a tight timeline um with the stadium's construction schedule.

So we've been we've been creative, um, but we also have some future opportunities that we've identified.

Um just um so you all are aware we do um have a public art commission that is authorized to review and recommend um expenditures of public art capital dollars.

Um, and that is authorized through city code section 9-1.

So our our board is a combination of art and design professionals, but we also have um an engineer, we have local artists, we have um local arts organizations represented, um, landscape architects and urban designers.

And this is our team.

We have a small um team, um just two with a focus on public art, and then um Carmen Davis is our director of arts, culture, and creative economy, and Monica Kenzie oversees our efforts under parks and outdoors, um, arts, culture, and special events.

Our mission is presenting a wide variety of public art.

So our goal is to see um small, large um monuments, memorials, uh, murals, all sorts of things integrated into the public environment.

But we do that in in collaboration with the community to enhance a civic environment and enrich the lives of all our our visitors and residents to Chattanooga.

So with that, our guiding principles, this came out of our 2019 strategic planning process.

Chattanoogans believe that public art builds an authentic city.

So as we pursue development projects and build new structures, our hope is that we really reflect an authentic Chattanooga and we can do that through the arts.

We're also working to preserve the character of our neighborhoods, so making sure all our neighborhoods have access to the arts and creative expression through public displays.

Collaborating to create vibrant public spaces.

So again, working alongside public works, our Chattanooga Design Studio, our RPA, to really make sure that our public spaces have character and vibran.

And then public art is a great way to provide equal access to the arts because it's out in public, it's free.

Anyone walking by from all walks of life get to enjoy this and have exposure to the arts and inspiration.

And we also value the artists in the creative process.

So with that, our timelines and schedules might be tight, but we also have to give the artists the ability to have time for their process.

And we we love to bring the community into that process when we're able when we when time allows.

So throughout the city, we have 99 outdoor artworks, permanent artworks that are part of the city's collection.

This has been growing since 1992 through various partnerships and collaborations, but we are now a full-fledged city department with policies and procedures and overseeing over 5.4 million dollars of city-owned assets.

And this work can be found in 26 neighborhoods throughout the city.

So we're not just downtown.

And through our art and neighborhoods program, we've managed to get art out into a number of neighborhoods.

So here's a little scatter shot view of all the the artwork in our city, and we continue to expand this year by year.

Stuck.

Okay, so for the stadium and for fiscal year 26, um, Mayor Kelly and the City Council approved a designation for public art and capital funds of 344, just over 344,000 dollars.

So we have pulled together a committee that would oversee how these funds are designated and used in the district, and that it goes on to be recommendations to our board, and they have the formal oversight of the approving that.

We we use we followed our standard process, but I will say we did have to expedite this process uh somewhat to make sure we could get art into the construction phase.

So step one, as I mentioned, is that design team coordination, identifying what the opportunities are within the the building site.

Step two is community engagement.

That selection panel is a piece of our community engagement, so we're making sure we have some broad representation there, but we are also typically asking ourselves what are the other opportunities to engage the community.

Has there been an engagement process already for this project?

Do we have time to do some more engagement activity?

And is there a specific community interest or goal for public art to address?

We move on from that to to bring together the selection panel and create a call to artist to just to go into detail on this opportunity.

So this is our standard call to artist that we've developed alongside city procurement to source artists for projects.

We used an invitational approach for this call for the stadium gates, um, sourcing 12 local artists to submit.

From there, we go to a concept design, so we get visuals of the ideas presented, and then we present that to the panel and the board for for a final approval on the the approach to the project.

From there, we move into a final design.

Um if there's some feedback that needs to be incorporated, um, any tweaks, and then if needed, depending on the project, we'd move into a technical drawing and permitting phase for the project.

And then the artist has time to create either in their studio on site, prepare the site, and install.

So our first project that's been identified, and again, this was a an art or no art conversation, basically.

So we we really had to move quickly to see that there could be art.

So in October, we invited 12 local artists to apply for this.

The panel selected two finalists.

We saw concept designs by those two finalists, and in November, the Public Art Commission approved that initial design.

The artists produced an at scale mock-up.

And we had a final design approved by the Public Art Commission and the selection panel.

Our local artist is Tommy Bronx, and he is a visual artist, a muralist, but he has a very strong design practice, digital design practice, which was an essential component for this project because the artist would be working with Thoroughbelt, the contractor for the stadium gates, the fabricator, to design a cut file.

So we were able to expedite the creation process because we had an existing subcontractor, and we just needed to source the artist that could design and produce a file to be cut by a laser router.

So we have core core tin steel panels cut by laser but designed by an artist.

And with that, we were able to again leverage the budget for the fencing and gates, pay for the artist's design, pay for some sketches, and then we do have a fabrication allowance, knowing that that design might be more complicated than a standard fence or gate panel to cut.

So these are the locations of our main entrance gates that we have artist designs for.

So that's you you'll maybe seeing that come before your agenda as as a um agreement that we need to complete just for future future reference.

The second project that's been identified, and this um is first scene is happening post-complion because it's a surface element.

Looking at this back wall of the stadium, we know that this is um highly visible from the highway, and um is an opportunity to sort of welcome uh travelers and visitors coming to into Chattanooga.

Um so we are setting aside most of the pretty much the remaining budget that had been set aside for public art for this because it is a it's a actually the the wall itself is over 8,000 square feet, um, but we're looking at sort of the the higher visible portion uh which is just over 6,000 square feet, and so pricing that at what we like to standard is standard for artists is based on a square footage uh price, and we're looking at $35 a square foot for this process.

We feel like we have a little more time to do more community engagement around this.

We'd love to do um a more public presentation of three potential design proposals from different artists and and really get the community's input on which is the preferred approach.

So we've also set aside um funds for for lighting for this.

Um I was just talking with Clay, if there's um to think through the electrical situations on the wall there so that we can make sure this artwork is lit up at night.

But this would be a very iconic um opportunity, sort of a gateway to the city that we can um take advantage of with artistic um creativity and enhancement.

Uh there's a couple other projects that were identified by the the art selection panel and the commission as potential opportunities, but we do not have funding currently.

So if these are opportunities that the lookouts want to pursue, or um the sports authority or developers, um, you know, these have been identified as potential, but we're not pursuing them.

But I wanted to make you all aware.

Um the tradition that Chattanooga has had is is really bringing integrating art and gateways to the Riverwalk.

Um, and so I knowing that there will be a new actual access to both the the South Broad Stadium District, but also the Riverwalk entry point, um, there could be an opportunity for a gateway sculpture.

And um the idea had been pot passed around that this could be you could take some of the salvaged material, industrial materials or metals on the site and have artists creating um pieces with this.

This is an example of what that could look like.

Um, or if you wanted to go the approach of just having industrial materials, maybe not reclaimed, but um, you know, something of this nature that has um aluminum or steel incorporated could be an interesting um moment.

But the again that was not identified as something we pursue at this time.

Um we did we have put in a request, an additional request for public art capital funds for this coming year, um, which may or may not be approved for that project.

Um this other opportunity we feel like it would be uh a low-hanging fruit, maybe not as expensive, is a mural on the powerhouse um building, um, the elevator shaft, the sort of three-sided um structure there with about 45,000.

You could implement a um a tribute to baseball legends in in whatever way is identified by um the community or lookouts that they want to honor.

Um, so this could be an interesting opportunity to have a more uh baseball themed telling of history or recognizing of significant um players.

Is that my last slide?

Are there any questions about the upcoming projects?

Uh it's not about the upcoming, but um right before you end it.

Before you started talking about the funding needed, maybe go back to prior slide.

Right.

No, it was right before you started talking about needed funded for the project.

Right.

I the the picture there that shows Chattanooga.

Is that just a sample or something?

That was from the architectural renderings.

So that's not intended to be what's painted by any means.

No, we think we'd do something much more creative than just the words and solid colors.

Yeah.

Okay.

It would be, I mean, I think the opportunity is um uh you're you're dealing with a matter of seconds, you know, cars driving.

So it you know, we we couldn't do sort of like a full historical narrative mural, um, but we'd want to reflect Chattanooga's identity as much as possible and and sort of a quick passing um glance.

Well that just comment that public art, the public art department has been around a long time trying.

They're in a struggling department, so I am I encouraged that uh things are happening that allows you guys to be able to, you know, enhance the city through public art, but there were times I recall when there were funding below public art was definitely a low priority for public issues, so I'm glad to see it move up on that on the ladder for you.

We're really glad there's been some investment for the stadium.

So one last thing, sorry.

No, you go ahead.

So we need 300,000 more to do uh powerhouse baseball legends murals, 300,000 to do a gateway sculpture, it would be closer to 45,000 to do the the mural, the powerhouse mural.

So I see on the uh page 47 and 4849.

Um we have African Americans represented.

Um that's in this uh the Great Eight.

I'm assuming that's is that the Negro League.

These are project comps.

So these are this is examples of artworks done in other cities.

So we would need to identify who and and you know what what individuals, who we what stories, what history we wanted to tell, but this is just sort of an example of what's been done in other cities.

I would just for the record, I would like to see more emphasis or some emphasis installed in this stadium uh around it inside, however, to represent that as an originally African American community, and I think this is and I've talked with um Jim Irwin about this, and he's in concert with it too.

Uh so I I didn't see a lot in these gates.

I mean, you can't tell, you know, race in these gates, uh, which is which is good.

I mean, they're very well done.

I don't I think they're nice, but I I think it's important uh because this neighborhood goes back and and has gone through redlining and being cut off from uh major society in Chattanooga, and so I want to see, and I've personally been a part of revitalization on South Borough, so that's that's why I have that interest is uh I learned some things, but there isn't not a lot of history on the African American community down there because white people wrote it or didn't write it.

They wrote the history and some things were left out.

So I think this is an opportunity to bring these things to light.

Right, I agree, and you know that the um the black the black artist who's created these works, you know, really I think he he liked designing these without race um as a factor that he could even present, but we will I think have some interpretive opportunities with this because I think that there's you know these players we can tell the history that's represented in these panels through some signage um and as well as um the reference to the Southern Negro League, the stars that will appear and the gates are are intentional, and so we can we can call that out and and tell that story.

Um but yeah, I think this the mural, the smaller mural is actually a better opportunity to tell a more uh a colorful narrative uh and get really more specific on representation and the history.

And I think if you if you interview, interview African American people, there are a lot of folks that grew up down there from that area or have family in that area.

I mean, somebody that knows the history.

This white woman does not.

I want to make sure it can it comes from the people that grew up there or family there.

Reverend, there are the teams also working on a lot of that stuff too.

So there's the public art component of it, and the team themselves have taken that upon to have storyboards and sort of tell that history of the Negro Weeks here and other things.

So this is just one component of many facets, too.

So it's not the only thing.

Thank you.

Yeah, so we we shake it.

We need to make sure we tell that story.

Um we had a really fun one the other week.

We we toured the Bedwood board, and the carto bus driver that came down.

Uh, he we jumped on the bus and he pulls around the back of the stadium, and he's like, Wow, I haven't been here since I worked here.

I said, How long did you work here for?

And he said, 12 years.

And I was like, any chance you can park the bus?

And he said, sure.

He said, yeah.

And so he went on the tour, and it was so neat standing there and hearing from someone who spent 12 years of their life four different jobs and loved working at uh he actually worked at U.S.

Pipe.

Um, but those stories do need to be told.

And uh, you know, and that's something that the team is working actively on to make sure we do tell, you know, what this what this area is.

Yeah, and we want everybody to come, and everybody means everybody.

So if we tell their story, they'll come.

Yeah.

And and that's c that collaboration is really important because the public art, if if that falls all on one artist and one artwork, it's a it's a really big task to portray visually, right?

There's only so much that can be captured and and what you can gather walking past something.

So, yeah, again, those those interpretive um opportunities for signage and history in throughout the stadium will be um really important.

Um, so and you know, we would we're doing our best with the projects that we have.

Um, but again, I do think um, I don't know if um I've talked with Rich and the Lookouts, you know, if that's an opportunity to do something on that wall with the historic more historical context, um, that would be great.

Thank you.

I um and thank you, Ann, for bringing that forward.

I was actually in totally total agreement.

Um I I'm in my mind though, wondering how and what's the process to make that happen.

Um the the teen individuals they how I mean what mechanism is there to ensure that that history is known and brought forward.

And I quite honestly was mistakenly in my assumption that it was a major part, maybe I'm not in seeing the murals and uh representative of African American.

I thought it was I I I kind of thought it was already part of your major, and it probably is, but that emphasis is I'm in total agreement, so I appreciate it.

But I I I would like to know how how we're gonna make it happen.

How do we get that history?

Because our reverence says that she didn't have it, I don't have it, but I have talked with some people, uh African Americans that know some history, and but it's you have to find the matriarchs and the patriarchs that are around African Americans that know that history and can guide you to okay, you need to go here and over there talk to this person, yeah, that person.

It's a process, but it's rewarding.

You learn something all along the way.

Well, and I think our for this next larger mural project, our engagement process will be much more robust, and I'd also like to have a broader representation on that artwork selection panel.

Um, so whether that's having a community organization or residents, or yeah, people from the community who have that history and knowledge, so because there's a direct communication with that panel and the artist, and so the information that's provided can be passed through that.

So if we can we'll we'll do some some research and try to find um representatives that could be providing that input for the next projects, because we will have more time.

Thank you.

Thank you.

Thank you for separating these works.

Just a question.

Well uh uh Kate, I know you work for the city, right?

Yes, and uh the question I guess I've got, and this is the sports authority for the city and the county here that we have in this entity, and this entity has just engaged in over a hundred million dollars worth of bonds, but the money that we're talking about here is actually going to be coming from a city source, or where is the money coming from?

Yeah, okay.

So I I see that at least quarter two of 2026 for the gates, at least that's already in the budget here for this year to have the gates to go up for the stadium whenever the stadium opens, correct?

Correct.

Okay, and then the other budget for the uh the outside of the structure here uh that will show people when they're coming into the city of Chattanooga has yet to be decided in the budget for 2027, correct?

We have the funds for that.

Okay, so you have the funds already.

So the only additional funds that the city will have to come up with then is the other aspects of the city and the uh the entity that is running the the stadium here, uh the stuff for inside the facility.

Is that what it is?

Um yes, so that's where you know the that mural opportunity to to showcase the baseball legends is inside the facility.

Right, and so again, that's sort of where we the commission has focused our efforts on sort of the more sort of broader Chattanooga facing public art um opportunities, and um that gateway again, not knowing exactly whose property that would be on, who's building that access point to the riverwalk would determine again sort of our office's involvement and um contracting process is focused on the city's city sites typically.

Yeah, just trying to make sure because there are bond issuance here that this body is involved in.

That's not the city of Chattanooga, that is this entity here that is responsible for that bond issuance, and then what responsibility for future construction would be the responsibility of this body versus the city of Chattanooga or the entity that has a long-term lease.

Okay, so there's all three folks that need to be involved, right?

Yep.

Okay, thank you.

Hopefully, that does not negate our desire to want to see the history.

No, ma'am.

Okay, just trying to figure out how it's gonna get paid for.

Right.

Well, and that's where I'm kind of saying we have our two projects that we are implementing, those other two projects, funding source, and who's who they fall to to implement is a is a question mark based on yeah, who's who's owning the funds and the project.

So you're saying who owns the funds, direct how the project is spent.

So therefore, our concern is may not be something that we can direct or we can always be quick.

Yes, Ms.

Daisy.

Yeah, the you know, from the development standpoint, you know, we're committed to the public art and to working, you know, it's been part of our thing, right?

You know, creating the district, creating the foundries district, the whole purpose of it is to tell these histories and tell these stories.

So us and the team collectively will work to tell that story and to create these public arts.

So that's part of our as part of what we're trying to create here with the district.

So you know it's it takes time to be thoughtful and to do it right, and that's what you know that's what's happening.

These are the first bits of a lot more to come.

So but we are committed to that.

Thanks.

Thank you.

Thank you.

I had a non-related question if I could ask.

Um the city used to own the Chattanooga.

Chattanooga did a lot of public had a lot of public art that we left there that the city owned that the approach.

Do we still own that art?

We have the art, yeah.

Okay.

All right.

We took the art out, they got their own new the new hotel, yeah, got their own art.

None of that could be used to hear, so it's all interior paintings and things.

So all right, thank you.

Thank you.

Thanks.

Is there any other business?

Okay, we'll adjourn.