19th century progressed, many writers and thinkers-- among them, the visionary german philosopher friedrichietzsche-- came to believe european culture was in a desperate crisis, that its beliefs and institutions were on the point of dissolution, and that a period of war and revolution would follow, fought out on a hitherto unimaginable scale by the mass armies of the industrial west. these ideas occupied the thoughts of artists, too. among them, vasili kandinski. this is kandinski's apocalyptic composition number 6, painted in 1913. two years before, in munich, kandinski had formed a new group of artists-- der blaue reiter, the blue horseman. this theme of an impending apocalypse was a central concern not only of kandinski, but of blaue reiter artist franz marc. here in kandinski, it's expressed in a mystical abstraction. but the explicit meaning, conveyed in the metaphor of a great animal disaster, comes out in franz marc's fates of animals, painted in 1913. predictably, this painting has often been treated as a prophecy of the great war, out of which came the collapse of the austro-hungar

so it is the development of what they call us structure for social change coming out of friedrich hayek. though way they see it which is the blueprint for their political strategy, at the top level you have your higher education institutions where abstract ideas are created. so charros spends billions of dollars underwriting free market economic institutions with dozens of universities professorships professorships, scholarships , lecture series, the next level down is the think tank they take those abstract ideas that are created to turn them into policy proposals that average people can understand so you have the cato institute that has been funded over the years but at the bottom level you have the activist and advocacy groups which more or less take policy proposals developed at the think tank level and ideally pressure lawmakers to make them though lot of the land. they didn't have the activist group in their portfolio so there is a group called citizens for a sound economy that you may remember. therefore not many citizens involved with this group at that time but it was really th

friedrich had no money to buy the collection. she bought it.he -- it was of a gesture not only for the outside world but for the public. the public she had around her, the people. we can buy art. >> you think it is important for museums to expand beyond their principal location? >> is a very good question. on one side, yes. we must make our collection accessible. but it must be a dynamic system. if you just build one building after another, at a certain moment, you don't have enough money to pay for electricity and everything. maybe you don't have enough collections of the same level. it must be dynamic. we have a project called great hermit taj -- hermitage. we have built buildings for open storage where we show everything that we have. public.cessible for the the me heavy satellites outside of st. petersburg in russia. -- then we have satellites outside of st. petersburg in russia. we have to show everything that we have come about in a proper weight. >> is there a fascination and appreciation of contemporary art in russia? >> like in every c

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