Okeke-Agulu: An underlying motivation from your various accounts is the need to create or instigate the establishment, within your various locations, of artworlds that are more responsive to contemporary issues. In other words, there is a desire on your part to inject some dynamism into local contexts that appear—as a result of complex postcolonial political and socio-economic conditions–uninterested in the kinds of questions and ideas contemporary artists and their audiences around the world confront today. In a sense the work and the environment your centers encourage proposes a fundamental change in perception of and approach to contemporary art by the establishment. But this disruption of the status quo can elicit a range of reactions, ranging from acceptance to rejection; or not being considered as a serious “threat.” What has been your experience thus far with your local art/cultural establishments?