-- judy guggenheim. [applause] >> thank you, mitch. every time i stand out and talk about san francisco general, i feel humble and proud. i feel humble because what goes on is in a public arena, the most remarkable consensus of all kinds of groups all across the city working to make this hospital something that not only can we be proud of, but that is recognized all around the country as the very best of the best. our programs go nationwide. our research goes nationwide. every time i bring somebody here who has never been to the hospital before, they all go away just filled with energy and enthusiasm, thinking that this is the best place they have ever seen. that is why i feel humble. it is also why i feel proud. it is a remarkable thing to be able to stand up and say what goes on here because of the work of every single person involved here, and now, because of the work of 84.5% of the people in the city, is just unheard of. i know we are going to have a fabulous new hospital. i know webcor is going to

this is at the guggenheim where she had a retrospective in 1989. she was able to develop this even further when the guggenheim commissioned her to do a project there. this was in 1997. and like this project, jenny was able to collaborate very early on with frank when this piece was put together. also very important for this project was jenny to incorporate a number of languages. english, spanish, the bosk language, so that people who would read this would feel some kind of connection. this is a project that jenny did in berlin. this is at the entrance to the members of parliament. it was to address those walking in, but also to use speeches from actual members of past parliaments so that there's a real connection to the people who would be using that place and the artwork itself. and while jenny's work always has a utilitarian aspect, she also wants it to be beautiful. this is at the national gary in berlin. this is a project jenny did for the table arts convention center in pittsburgh. she used three novels by pittsburgh writers who were also writ

our founding director was deeply interested in abstraction and was engaged in dialogue with the guggenheim about bringing the jackson pollack showed to the west coast. the original price for the painting, $750. are directors thought that was too much of a stretch before the board of trustees, so she convinced them to reduce the price to firefighter dollars. it was just -- to $500. it was what was needed to persuade the board. it is a very subjective history of art. it has been very much shaped by the individuals involved with the museum over the years. in 1935, would start with the gallery with works that came in through albert bender, one of our founding trusties. when we opened our doors in 1935, 181 of the 186 pieces in our permanent collection had been gifted. >> what are the names that pop out as the museum evolved? >> we have another gallery that looks at the theories that the museum has since the late 1980's. we focus on a particular aspect of that program that developed under one of art curators. he arrived in 1989 and was especially interested in artists. >> are some of the highli

and they've done that not only by bringing us in bew the louvre and the guggenheim, as you said earlier other elements as well, so the first evidence of proof of concept was the first group of students that we succeeded -- we wanted an entering class for this coming september of 100 students, we set as the admission standard clearly admissible in our judgment to any college or university in the world. it was a higher admission standard than the admission standard we set for n.y.u. new york. >> charlie: you got some very bright kids coming in. i'll just bet you, though, knowing you, that the compact was more -- that the compact was "we will build here in the next number of years one of the top five universities in the world." would you say that? >> i think that's our goal, is one of the top five or 10 universities in the world and a new kind of university that others would emulate. >> charlie: top five or 10 universities in the next 10 years. >> yeah. >> charlie: to do that, this is what's really interesting, you've got an architecture that's different, it's compelling, i grant you that.