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Hollis Taggart is pleased to present All Shades, All Hues, All Blues, the Hamburg, Germany-based artist’s first solo sho...
01/31/2024

Hollis Taggart is pleased to present All Shades, All Hues, All Blues, the Hamburg, Germany-based artist’s first solo show in New York City. In her latest body of work, Justine Otto applies her innovative compositional approach and signature palette to a series of figures of musicians created through indeterminate forms and shapes emerging out of abstract backgrounds. Though more figurative than abstract, nothing is obvious about Otto’s figuration, with a total lack of clarity as to where a figure ends and an instrument begins, resulting in musicians and their instruments at times blending together into enigmatic compositions that confound the eye.

Born in Poland in 1974, Otto moved to Germany at the age of nine. In 1996, she studied at the State Academy of Fine Arts (Städelschule) in Frankfurt am Main, with Peter Angermann and Michael Krebber. Between 1997 and 2000, she worked as a stage designer at the Municipal Theatre Frankfurt and won the Volker-Hinniger Prize in 2005. Otto’s works are featured in the permanent collection of the Phillips Collection and in numerous private collections in the United States and Europe. She has had solo exhibitions at Neue Galerie Gladbeck, Frauenmuseum Wiesbaden, Museum Franz Gertsch, Museum Abtei Liesborn, and Städtische Galerie Neunkirchen, among many others. This year, Otto’s work will be featured in group exhibitions at Stadtgalerie Kiel and at the National Gallery in Budapest. Otto lives and works in Hamburg.

Featuring eleven paintings and one sculpture created over the past two years, All Shades, All Hues, All Blues will be on view from February 15 through March 16, 2024, with an opening reception on Thursday, February 15, from 5-8PM.

Throughout his career, Uruguayan artist Pablo Atchugarry (b. 1954) has successfully translated the artistic language of ...
01/30/2024

Throughout his career, Uruguayan artist Pablo Atchugarry (b. 1954) has successfully translated the artistic language of European Old Masters sculpture into his own idiom, inflected with post-constructivist elements from his native South America and spiritual sensibilities derived from the ancient civilizations of America. Untitled is characteristic of Atchugarry’s hallmark approach to marble, which evokes a dynamic rhythm of folding and creasing that is both elegant and imposing. Untitled is made of luminous Portuguese pink marble, which is one of the most important marbles of the Portuguese stone industry.

Early on in his career, Atchugarry experimented with a variety of materials including cement, iron, and wood. In 1979, a visit to the famous marble quarries of the Tuscan town of Carrara in Italy proved transformative, and soon after, he moved to Italy and abandoned painting almost entirely to devote himself to sculpture. For several decades, Atchugarry has been using marble almost exclusively, specifically white marble from the quarries of Carrara. Marble from Carrara is an exceptionally numinous medium, with strong art historical resonances. It was the preferred material of the most eminent sculptors from antiquity to modern times, including Verocchio, Donatello, Michelangelo, Bernini, and Canova. As working with marble demands arduous physical labor, Atchugarry’s sculptures, including Untitled, highlights his craftsmanship and impeccable technical ex*****on. “When you’re working directly with stone, especially marble, it’s very dramatic, because there’s no way back,” he once explained about the medium. “Every part that is taken out of the block will never be part of it again.”
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Image:
Pablo Atchugarry, Untitled, 2023
Portuguese pink marble
59 x 11 3/4 x 11 in.
3 1/8 x 22 x 21 5/8 in. (base)

Visit our booth,  #1109, at Art Palm Beach. On view through Sunday, January 28. ——Hollis Taggart’s 2024 Art Palm Beach b...
01/26/2024

Visit our booth, #1109, at Art Palm Beach. On view through Sunday, January 28.
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Hollis Taggart’s 2024 Art Palm Beach booth features a selection of important abstract expressionist, post-war, and contemporary artworks. We are highlighting works by Norman Carton and Michael (Corinne) West. We will also present works by Pablo Atchugarry, Elaine de Kooning, Peter Halley, Yayoi Kusama, Gaston Lachaise, Gerhard Richter, and Andy Warhol among others.

For more information on the gallery’s booth presentation please contact us at +1 212.628.4000 or [email protected].

Hollis Taggart is pleased to announce the representation of the estates of American artists Ruth Lewin and Charles Selig...
01/25/2024

Hollis Taggart is pleased to announce the representation of the estates of American artists Ruth Lewin and Charles Seliger, two married artists active in the postwar era who both pushed the boundaries of abstraction in very different ways. Ruth Lewin, a member of the Indian Space Painter movement, blended an exploration of the developing Abstract Expressionism movement with inspiration from the natural world and an interest in the iconography of the Northwest Coast Indigenous Peoples. Charles Seliger’s complex biomorphic abstractions arose from a deep fascination with nature, biology, and physics, resulting in canvases that have a microscopic and mesmerizing attention to detail. On view from February 22 through March 30, 2024 in Hollis Taggart’s recently expanded annex space, Interior Worlds: The Art of Charles Seliger and Ruth Lewin will mark the first time the artists’ works are displayed together, allowing viewers to witness their artistic dialogue as a married couple whose divergent approaches and techniques demonstrate the diversity of postwar abstraction. The representation and exhibition will be celebrated with an opening reception on Thursday, February 22, from 5-8PM.
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Images:
1. Ruth Lewin
Untitled [Abstraction], circa 1945
Tempera, metallic paint, and gesso on panel
16 x 12 in. (40.6 x 30.5 cm)
2. Charles Seliger
Autumn, 1964
Signed and dated lower center: “Seliger / 64”
Oil on canvas
14 x 10 in. (35.6 x 25.4 cm)
3. Charles Seliger and Ruth Lewin at Seliger’s exhibition, circa 1960s.
4. Screen captures: Melanie Gerlis for the Financial Times, January 25, 2024.

In other representation news, New York’s Hollis Taggart gallery has taken on the estates of the married couple, Charles ...
01/25/2024

In other representation news, New York’s Hollis Taggart gallery has taken on the estates of the married couple, Charles Seliger — a first-generation abstract expressionist — and Ruth Lewin, a so-called Indian Space Painter, whose abstract work was influenced by the Indigenous artists of the Pacific Northwest. The gallery opens a show of both on February 22.

Sugimoto joins Lisson Gallery; compliments for Condo; Pace bolsters leadership in London; new time and place for Eye of the Collector

Visit us at Art Palm Beach, booth 1109 from January 24-28 Our booth will feature a selection of important abstract expre...
01/23/2024

Visit us at Art Palm Beach, booth 1109 from January 24-28

Our booth will feature a selection of important abstract expressionist, post-war, and contemporary artworks. We will highlight works by Norman Carton and Michael (Corinne) West. We will also present works by Pablo Atchugarry, Peter Halley, Yayoi Kusama, Gaston Lachaise, Gerhard Richter, and Andy Warhol among others.
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Images:
1. Pablo Atchugarry, II Fiore, 2018.
2. Peter Halley, Blue Prison, 2020.
3. Robert Natkin, Untitled (Bern Series), 1978.
4. Yayoi Kusama, East River, 1991.
5. Charles Seliger, Trio, 1970.
6. Stanley William Hayter, Untitled, 1986.
7. Gerhard Richter, Untitled, 2008.

Visit us at Art Palm Beach, booth 1109 from January 24-28 Our booth will feature a selection of important abstract expre...
01/23/2024

Visit us at Art Palm Beach, booth 1109 from January 24-28

Our booth will feature a selection of important abstract expressionist, post-war, and contemporary artworks. We will highlight works by Norman Carton and Michael (Corinne) West. We will also present works by Pablo Atchugarry, Peter Halley, Yayoi Kusama, Gaston Lachaise, Gerhard Richter, and Andy Warhol among others.
——
Images:
1. Pablo Atchugarry, II Fiore, 2018.
2. Peter Halley, Blue Prison, 2020.
3. Robert Natkin, Untitled (Bern Series), 1978.
4. Yayoi Kusama, East River, 1991.
5. Gerhard Richter, Untitled, 2008.
6. Stanley William Hayter, Untitled, 1986.
7. Charles Seliger, Trio, 1970.

Exhibition Live Tour with Paul Efstathiou and Osamu Kobayashi———Join us on Instagram LIVE, Wednesday, January 24 at 6:00...
01/22/2024

Exhibition Live Tour with Paul Efstathiou and Osamu Kobayashi
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Join us on Instagram LIVE, Wednesday, January 24 at 6:00 PM EST, for a tour of gallery artist Osamu Kobayashi’s first solo presentation On Apparition. The virtual tour will be led by Director of Contemporary Art Paul Efstathiou with Osamu Kobayashi joining from his studio. Watch the broadcast with Paul Efstathiou () and Osamu Kobayashi ( ) on our gallery Instagram account .
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Exciting news and congratulations to gallery artist Osamu Kobayashi. An Artsy in-depth, thoughtful and remarkable review...
01/18/2024

Exciting news and congratulations to gallery artist Osamu Kobayashi. An Artsy in-depth, thoughtful and remarkable review by Maxwell Rabb. Thank you to everyone involved. Osamu Kobayashi’s solo exhibition is up now and through February 10th.

Hollis Taggart is pleased to present On Apparition, the Brooklyn-based artist Osamu Kobayashi’s first solo exhibition with the gallery following his participation in several group shows over the past few years. In his latest body of work, Kobayashi continues to experiment with bold brushwork, using his whole body to glide large-scale brushes across his canvases, resulting in paintings that capture a sense of fluidity and motion. Suggestions of shapes and figures playfully emerge throughout Kobayashi’s work, which has a whimsical nature that at times belies its more serious and historic influences. On Apparition presents twelve of the artist’s newest paintings and will be on view on the first floor of Hollis Taggart from January 11 through February 10, 2024.

01/17/2024

Osamu Kobayashi ushers in a year filled with milestone exhibitions, beginning with “On Apparition” at Hollis Taggart, on view until February 10th.

ACQUISITION Highlight | Eva Hesse, Landscape Forms, 1959. ——This early rare work, Landscape Forms, was executed in 1959,...
01/16/2024

ACQUISITION Highlight | Eva Hesse, Landscape Forms, 1959.
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This early rare work, Landscape Forms, was executed in 1959, the year Eva Hesse graduated from Yale School of Art, where she had studied abstraction with Josef Albers. Albers considered the young Hesse a gifted colorist, discerning a precocity evident in Landscape Forms. By 1961, Hesse was painting ambitiously large-scale abstractions, some over eight feet in width. (1) In 1959, the year she created this work, Hesse elaborated her artistic philosophy in an essay submitted at Yale: “The Abstract Expressionist attempts to define a deeply-rooted bond between himself and nature and to evoke this kind of union between himself and his painting.” In Landscape Forms, we witness Hesse attempting to work out this “union,” as she filters a landscape through an abstract language, or what she calls, in the same essay, a “subjective expression of feeling.” The expressionist streak characterizing her later sculptures is first perceivable in her early abstract paintings such as this present work. The work, which appears as an early entry in the Catalogue Raisonné, is also documented in Hesse’s papers on deposit at the Allen Memorial Art Museum, Oberlin College.

Best known for her highly original sculptural installations that engage soft materials such as latex and textiles, German-born American artist Eva Hesse (1936-1970) was one of the most influential artists of the 1960s. Her artistic trajectory began at Cooper Union and Yale University in the late 1950s, where Hesse identified strongly with Abstract Expressionist modes of painting, particularly the works of Arshile Gorky and Willem de Kooning. (2)

1. Kirsten Swenson, “Eva Hesse, Abstract Expressionist Painter,” Journal of Art History 83:2 (April 2014). 
2. Ibid.

ACQUISITION HIGHLIGHT Considered one of the most influential living artists, the German painter Gerhard Richter (b. 1932...
01/04/2024

ACQUISITION HIGHLIGHT

Considered one of the most influential living artists, the German painter Gerhard Richter (b. 1932) is renowned for his lifelong, ongoing experimentation with diverse styles and subjects. Born in Dresden one year before Hi**er came to power, Richter found success within the academic system of East Germany while training as a muralist in the Social Realist style sanctioned by the East German government. Upon encountering and being transformed by the works of Jackson Po***ck and Lucio Fontana in 1959 at Documenta II, Richter left East Germany and developed his own all-over style of abstraction. Since the 1960s, Richter’s practice has oscillated between producing photo-based works and gestural abstraction. Such tensions characterize Richter’s work: the seeming objectivity of the camera versus subjective abstraction, belief versus uncertainty, transcendence versus banality. His work often seeks to dwell in these paradoxes without trying to resolve them.

This present work is part of a larger series begun in 2008 by Richter, in which he uses lacquer to achieve blooming, dazzling forms that play on the forces of mixture and separation. Printed paper serves as the substrate, with its images subtly peeking out from underneath the lacquer. With its striking jewel tones and sensuous mixing of colors, this work exemplifies Richter’s hallmark sensitivity to surface and process-oriented technique. “Each picture,” Richter has said, “has to evolve out of a painterly or visual logic: it has to emerge as if inevitably. By not planning the outcome, I hope to achieve the same coherence and objectivity that a random slice of nature (or a readymade) always possesses.” (1)

1. Richter, interview with Sabine Schütz, 1990, The Daily Practice of Painting: Writings and Interviews, 1962-1993, Cambridge, MA, 1995, p. 216.
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Image:

Gerhard Richter, Untitled, 2008
Lacquer on printed paper mounted on matboard
11 5/8 x 8 1/4 in. (29.5 x 21 cm)

FINAL WEEK | “Interplay,” featuring Mia Weiner, Zahra Nazari, Justine Hill, Anna Pietrzak, and Nora Maité Nieves. On vie...
01/02/2024

FINAL WEEK | “Interplay,” featuring Mia Weiner, Zahra Nazari, Justine Hill, Anna Pietrzak, and Nora Maité Nieves. On view through Saturday, January 6.
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The artists in this exhibition take up different processes and mediums––such as handwoven cotton, 24k gold leaf, acrylic on mylar, sculptural painting, and modeling paste––to create works that luxuriate in their materiality. Though experimenting with various styles that range from abstraction to figuration, as well as architectural abstraction that shuttles somewhere in between those two poles, the artists featured in the exhibition are united by their palpable sense of delight in the very process of artmaking. As such, these works are marked by an inexhaustible wonder in form, and its infinite affordances and limitations.

Hollis Taggart is pleased to present On Apparition,the Brooklyn-based artist Osamu Kobayashi’s first solo exhibition wit...
12/18/2023

Hollis Taggart is pleased to present On Apparition,the Brooklyn-based artist Osamu Kobayashi’s first solo exhibition with the gallery following his participation in several group shows over the past few years. In his latest body of work, Kobayashi continues to experiment with bold brushwork, using his whole body to glide large-scale brushes across his canvases, resulting in paintings that capture a sense of fluidity and motion. Suggestions of shapes and figures playfully emerge throughout Kobayashi’s work, which has a whimsical nature that at times belies its more serious and historic influences. On Apparition presents twelve of the artist’s newest paintings and will be on view on the first floor of Hollis Taggart from January 11 through February 10, 2024, with an opening reception on Thursday, January 11th, from 5-8PM.

Osamu Kobayashi’s (born 1984) seemingly simple paintings are deceptively complex with intricate layering and a tactile, gestural application of paint. Kobayashi’s process begins with hundreds of sketches of biomorphic and geometric shapes in a comic-strip like format that reveals his interest in sequential art and animation. In his sketches – as in his paintings – forms come in and out of existence, with hints of recognizable shapes that disappear almost as quickly as they can be identified. Kobayashi selects the most enigmatic of forms and shapes to translate into his paintings, creating a larger graphite sketch on a primed canvas that comes to life through the artist’s unusual and meticulous application of paint.
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ON VIEW | Interplay——Justine Hill (b. 1985)  experiments with the boundaries of abstract painting through a unique appro...
12/14/2023

ON VIEW | Interplay
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Justine Hill (b. 1985)  experiments with the boundaries of abstract painting through a unique approach to form and mark making.

The work of Zahra Nazari is based on architectural references mined from her memories of her homeland of Iran and her life as an immigrant in New York.

Interdisciplinary artist Nora Maité Nieves creates richly textured and tactile surfaces that often incorporate a variety of media, including acrylic, silver-leaf, flashe, and fiber paste.

Working with gold leaf and acrylic on wood panel and canvas, Anna Pietrzak creates compositions inspired by gestures of the human body and nature in which forms balance against each other, held in striking tension.

Mia Weiner creates intimate declarations that explore identity, gender, and the psychology of human relationships. For her, cloth is simultaneously a bandage and a cover, but most of all, a place of shared experience.

Come see these remarkable works on the 2nd floor at 521 West 26th Street, on view through January 6th, 2024.

ON VIEW | Norman Carton: Chromatic Brilliance, Paintings from the 1940s-60s——Norman Carton (1908-1980) was born in Ukrai...
11/28/2023

ON VIEW | Norman Carton: Chromatic Brilliance, Paintings from the 1940s-60s
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Norman Carton (1908-1980) was born in Ukraine in what was then part of the Russian Empire. He had a harrowing childhood, beginning with escaping a pogrom at age ten, being detained by the Red Army, and then living in Romania and subsequently the US as a refugee. After spending his late childhood in Philadelphia, Carton trained at the Pennsylvania Academy of the Fine Arts (PAFA) with painter Henry McCarter and at the Barnes Foundation with Arthur B. Carles, both of whom greatly influenced his artistic approach. From 1939 to 1942, Carton was employed as a muralist and easel artist by the WPA’s Federal Art Project. While he was employed by the WPA, Carton was commissioned to create a mural for the Fleisher Vocational School for Girls in Philadelphia, the first mural in the U.S. to portray women’s roles in American history. This marked the beginning of Carton’s activism, advocating for artists’ rights across gender, class, and race throughout his career.

“Chromatic Brilliance deepens our commitment to promoting new narratives and scholarship about postwar American artists,” said Hollis Taggart. “Since we took on representation of Carton’s estate a year ago, the gallery team has been working alongside the estate to conduct extensive archival research on the artist, engaging the expertise of various scholars of postwar American Art, including Jillian Russo. We’re thrilled with the resulting museum-quality presentation of this important yet overlooked artist who belongs at the center of the Abstract Expressionist pantheon.”

11/21/2023

We'll be closing at 3PM on Wednesday, November 22 for the Thanksgiving Holiday. We will reopen Saturday, November 25 at 11AM.

Hollis Taggart is pleased to present Interplay, a group exhibition featuring new and recent paintings by five contempora...
11/15/2023

Hollis Taggart is pleased to present Interplay, a group exhibition featuring new and recent paintings by five contemporary female artists: Justine Hill, Zahra Nazari, Nora Maité Nieves, Anna Pietrzak, and Mia Weiner. On view from November 30 to January 6, the exhibition features selections of their paintings, which showcase a breadth of different mediums and styles of expression. An opening reception will take place on November 30 from 5 p.m. to 8 p.m. on the second floor of 521 West 26th Street.  

The artists in this exhibition take up different processes and mediums—such as handwoven cotton, 24k gold leaf, acrylic on mylar, sculptural painting, and modeling paste—to create works that luxuriate in their materiality. Though experimenting with various styles that range from abstraction to figuration, as well as architectural abstraction that shuttles somewhere in between those two poles, the artists featured in the exhibition are united by their palpable sense of delight in the very process of artmaking. As such, these works are marked by an inexhaustible wonder in form, and its infinite affordances and limitations.
——
Images:
1. Mia Weiner, “Aching To Be Held (Red Drip),” 2023.
2. Nora Maité Nieves, “The Air That We Breathe,” 2020.
3. Justine Hill, “Secession,” 2022.
4. Anna Pietrzak, “Trickle,” 2023.
5. Zahra Nazari, “Seeking Light,” 2023.

ON VIEW | Francis Hines: Bound in TimeThrough November 18——The works in Bound in Time demonstrate the need for Hines’ wh...
11/09/2023

ON VIEW | Francis Hines: Bound in Time
Through November 18
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The works in Bound in Time demonstrate the need for Hines’ whole oeuvre to be studied and displayed alongside his peers and in the context of the changes affecting New York and its art world from the 1960s to the 1980s.
 
In the Hoboken Autobody Series, for example, Hines drew inspiration from the many cars abandoned following crashes near his Manhattan studio on West Street. These works feature large sheets of Arches paper painted with hardpoint pastel and covered with stretched nylon fabric, encapsulating the tensions present in 1980s New York when the city struggled with poverty and crime. This tension extends to the sculptural works in the exhibition, including two large-scale works in which Hines stretched fabric across and over industrial rebar, as if creating three-dimensional abstract paintings using the steel as his canvas. Bound In Time also celebrates Hines’ legacy as the only artist to ever wrap buildings in Manhattan, and includes sketches for his other public wrapping projects in Manhattan, including one at the Port Authority Bus Terminal.

ON VIEW | Dana James: Pearls & Potions through November 11th. ——In a recent article in the Brooklyn Rail featuring this ...
11/04/2023

ON VIEW | Dana James: Pearls & Potions through November 11th.
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In a recent article in the Brooklyn Rail featuring this exhibition, it was said of the artist’s work — “Dana James creates harmony out of contrasts. In mixed media, abstract paintings, she varies her mark-making, ranging from luminous, cloud-like layers to sparse dashes of distinct, bold brushstrokes. She combines materials, sometimes adding paper and metallic foil, and using oil, acrylic, encaustic, pencil, pastel, and pigment. She often collages her own work, cutting and combining canvases, and embraces the physical qualities of her materials, leaving visible fibers, brushstrokes, and delineations between panels and mediums, as if mapping out her creative process for the viewer to parse."—

We are incredibly proud to see Dana James's work featured in such an illustrious publication. Thank you Annabel Keenan and The Brooklyn Rail.

See the link in bio to explore the latest issue.

Francis Hines: Bound in Time On view through November 18th——Born in Washington, DC, in 1920, Hines attended the Clevelan...
11/01/2023

Francis Hines: Bound in Time
On view through November 18th
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Born in Washington, DC, in 1920, Hines attended the Cleveland School of Art (now the Cleveland Institute of Art) before serving in the U.S. Army Corps of Engineers during World War II. Following the war, Hines settled in New York City, working as the chief commercial artist at G. Fox & Co, one of the largest private department stories in the country at the time. In the 1960s, his personal artistic practice started to receive attention, and in 1965, he had his first solo exhibition at the Smolin Gallery, an avant-garde art venue on 57th Street. In 1980, Hines was invited to wrap the Arch by New York University, as part of their campaign to raise funds to restore the monument after decades of blight. While it is understandable that he is most remembered for this extraordinary undertaking --- which involved a team of 23 people stretching and crisscrossing each piece of fabric tightly into a geometric pattern – the works in Bound in Time demonstrate the need for Hines’ whole oeuvre to be studied and displayed alongside his peers and in the context of the changes affecting New York and its art world from the 1960s to the 1980s.

11/01/2023

Dana James creates harmony out of contrasts. In mixed media, abstract paintings, she varies her mark-making, ranging from luminous, cloud-like layers to sparse dashes of distinct, bold brushstrokes. She combines materials, sometimes adding paper and metallic foil, and using oil, acrylic, encaustic,....

Address

521 West 26th Street
New York, NY
10001

Opening Hours

Tuesday 11am - 5pm
Wednesday 11am - 5pm
Thursday 11am - 5pm
Friday 11am - 5pm
Saturday 11am - 5pm

Telephone

+12126284000

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