input: By the reign of Archelaus I of Macedon, the Macedonian elite started importing significantly greater customs, artwork, and art traditions from other regions of Greece. However, they still retained more archaic, perhaps Homeric funerary rites connected with the symposium and drinking rites that were typified with items such as decorative metal kraters that held the ashes of deceased Macedonian nobility in their tombs. Among these is the large bronze Derveni Krater from a 4th-century BC tomb of Thessaloniki, decorated with scenes of the Greek god Dionysus and his entourage and belonging to an aristocrat who had a military career. Macedonian metalwork usually followed Athenian styles of vase shapes from the 6th century BC onward, with drinking vessels, jewellery, containers, crowns, diadems, and coins among the many metal objects found in Macedonian tombs.  Surviving Macedonian painted artwork includes frescoes and murals on walls, but also decoration on sculpted artwork such as statues and reliefs. For instance, trace colors still exist on the bas-reliefs of the Alexander Sarcophagus. Macedonian paintings have allowed historians to investigate the clothing fashions as well as military gear worn by ancient Macedonians, such as the brightly-colored tomb paintings of Agios Athanasios, Thessaloniki showing figures wearing headgear ranging from feathered helmets to kausia and petasos caps.  Aside from metalwork and painting, mosaics serve as another significant form of surviving Macedonian artwork, especially those discovered at Pella dating to the 4th century BC. The Stag Hunt Mosaic of Pella, with its three dimensional qualities and illusionist style, show clear influence from painted artwork and wider Hellenistic art trends, although the rustic theme of hunting was tailored for Macedonian tastes. The similar Lion Hunt Mosaic of Pella illustrates either a scene of Alexander the Great with his companion Craterus, or simply a conventional illustration of the generic royal diversion of hunting. Mosaics with mythological themes include scenes of Dionysus riding a panther and Helen of Troy being abducted by Theseus, the latter of which employs illusionist qualities and realistic shading similar to Macedonian paintings. Common themes of Macedonian paintings and mosaics include warfare, hunting and aggressive masculine sexuality (i.e. abduction of women for rape or marriage). In some instances these themes are combined within the same work, indicating a metaphorical connection that seems to be affirmed by later Byzantine Greek literature.

Answer this question "What are some visual arts that the ancient macedonians created?"
output: Among these is the large bronze Derveni Krater from a 4th-century BC tomb of Thessaloniki, decorated with scenes of the Greek god Dionysus and his entourage

Question: The Merchandise Mart (or the Merch Mart, or the Mart) is a commercial building located in the downtown Loop, of Chicago, Illinois, United States. When it opened in 1930, it was the largest building in the world, with 4,000,000 square feet (372,000 m2) of floor space. The art deco landmark is located at the junction of the Chicago River's branches. The building is a leading retailing and wholesale destination, hosting 20,000 visitors and tenants per day as of the late 2000s.

The Merchandise Mart was modernized in the late 1950s and 1960s. The Indian chiefs were removed and replaced with concrete plates in 1961, of minimal note to onlookers as skyscrapers did not rise on the north side of the river as predicted. Some of the carvings were later found in a suburban backyard and auctioned in 2014. In 1962, an entrance canopy was constructed over the south for vehicle use.  In 1977, Skidmore, Owings & Merrill designed the Chicago Apparel Center, located on the west side of Orleans Street, which increased the Merchandise Mart's total floor space to 6,200,000 square feet (580,000 m2). Making use of plazas, esplanades and overlooks employed the waterfront location for pedestrian pleasure. In 1988, Helmut Jahn designed an enclosed pedestrian walking bridge over Orleans Street connecting the Mart and the Apparel Center.  After a 10-year, $100 million modernization in the late 1980s that included public utility upgrades, Beyer Blinder Belle's commission in 1989 was to create additional perimeter entrances and restore the display windows, main entrance and lobby. On the south facade, the drive-through canopy was removed and two smaller doorways aside the main entrance were added. Display windows, painted over during the earlier modernization campaign, were restored with clear glass to showcase merchant's wares. New main and corner entrances were added to the rear facade, and the loading dock that occupied the north portion of the first floor of the river level was removed in order to use the bottom deck of North Bank Drive. Improvements to the lobby included restoration of the original glass curtain wall over the entrance, shop fronts and reception desk using terrazzo floors and wall sconces influenced by the original design. The project was completed in 1991.  In November 2007, the building received LEED for Existing Buildings Silver recognition.

Using a quote from the above article, answer the following question: How much did it cost?
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Answer:
After a 10-year, $100 million modernization in the late 1980s