The CIA did help promote people like Jackson Pollock, Mark Rothko, and Willem de Kooning, like these abstract expressionists back in their time. I did not know that. They did, and it was a way, it was a piece of the Cold War strategy that they had. Okay. The CIA was wild during the Cold War. The artists, I'm reading here from an article in Open Culture about this. The artists themselves were completely unaware that their work was being used as propaganda. On what agents called a, quote, long leash, they participated in several exhibitions secretly organized by the CIA, such as the New American Painting, which visited major European cities in 1958 and 1959, and included such modern primitive works as surrealist William Basiot's 1947 painting Dorf and 1951's Tournament by Adolf Gottlieb. And 1984's Dorph on Golf. Indeed. So they're like super fucked up paintings. They're like bizarre, completely abstract. So was the, okay, next question, and this is very serious. Was the CIA behind the Dadaist movement? They were behind Rococo. Okay. I accept that. So the idea that what they were doing is you have this art, and it's not really seen as all that great over here. Right. But you have people in Russia who are used to very concrete paintings. Like because in their totalitarian state in the 50s in the Soviet Union, you had firmer control over art. So you had basically the art that was approved is like realistic paintings of Stalin and shit like that. Yeah, yeah, yeah. That's what flies over there. And so promotion in Europe of this very bizarre American art is going to lead to positive American sentiments because they're going to see America as avant-garde. They're going to see them on the cutting edge. And it's going to be so different from what they're used to. So that is the strategy that the CIA was employing as a way of culturally piercing the Soviet Union citizens. Okay. That is what they were doing.