of presentation, Baty contends that "stagnation, and the rejection of new research" would only ensue. Baty is a fervent advocate for historical authenticity in the reconstruction of historic interiors, arguing that "it is the study of their development that contributes to our understanding of our culture and its influences. He cautions against those who would dismiss new information that contradicts our historical sensibilities, specifically when it demands costly revisions to historic decorative schemas. Still, others like Architectural Conservator Tania Alam argue for a more flexible interpretation of the past when authenticity runs counter to the cause of structural preservation. In an article from the proceedings from Are We There Yet?, Alam references at least two instances where varying degrees of fantasy are credited for structural preservation. Alam cites the work of architect and designer Alexander Girard in his 1961 successful bid for the revitalization plan of Washington Street in downtown Columbus, Indiana. Alam notes that Girard did not rely on scientific methods but simply " visualized the restoration primarily through the use of a color scheme, which would highlight the architectural features of the Victorian commercial buildings to work in tandem with the newly designed signage." Girard was ultimately successful at revitalizing historical structures slated for demolition in the district at a low cost. She follows with the work of Leonard Horowitz, whose 1980s whimsical pastel palette for the revitalization project of South Beach Miami is credited not only with preserving a declining area but putting the area on the cultural map. Horowitz's whimsical palette accentuated the architectural features of the buildings in question, restoring them to life and establishing the now revered Art Deco District of South Beach Miami. Alam acknowledges that neither Girard nor Horowitz relied upon scientific evidence in the construct of their revitalization proposals. However, she contends that these transgressions may be forgiven when the preservation structures rest in the balance and concludes that, "In their attempts to restore and save the historic fabric, both these color palettes essentially created new aesthetics in the respective area. It is important to note that Girad and Horowitz worked in the context of the lived environment and relied upon invented schemas intended to revitalize urban districts, while Baty's work centers upon historic preservation, an arena where scholarship and public education are paramount. As the practice of historic paint analysis continues to evolve, the poles between fact and fiction will