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realist and still-life traditions, but critics note several key differences: rather than stage tableaux, he photographs reference scenes as he finds them, composing in the viewfinder; he uses color subjectively, working in analytical near-black-and-white, warm red-brown-yellow, or almost-toxic greenish tones depending on his conceptual goals; he paints at a larger-than-life scale in which architectural presence de-familiarizes his subjects. Kenneth Baker notes an interpretive openness in the work that can be read as elegiac, memorializing, cautionary, or critical, which is also foreign to traditional still life.
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393:(2010) and in the Denver Art Museum (DAM) and Asia Society shows, "Eyes On: Xiaoze Xie" (2017) and "Objects of Evidence" (2019). The two shows investigated the history of book banning in China, revealing its ideological shifts by highlighting what different regimes made invisible. They featured paintings, an installation of glass cases holding nearly three hundred banned books that Xie collected (
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crisp art archives, musical scores) found in libraries and museums from around the world. The "Library" paintings take up concepts including order and control (through systems of classification), the potential for disorder, decay, and the vulnerability and fragmentary nature of historical memory; Xie has suggested that his horror at the historical destruction of books by China's
245:(San Francisco), Nicholas Metivier Gallery (Toronto), Zolla/Lieberman (Chicago), Moatti Masters/Contemporary (London) and Gaain Gallery, (Seoul, Korea), among other venues. Xie taught at Bucknell until 2009, serving as Chair of the Department of Art & Art History from 2007–9. In 2009, he accepted a position at Stanford University, where he continues to teach.
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324:—to more sharply comment on world events. Writers suggest that the "Newspaper" paintings capture the chaotic, fleeting nature of the periodical—the immediacy and urgency of events upon publication and their quiet aftermath as yesterday's news, as well as their relentless (often numbing) accumulation of information in an age of media saturation.
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Painted in the manner of the "Library" works, the "Newspaper" works range from monochromatic images of nearly-abstract horizontal patterning (e.g., "The Silent Flow of Daily Life" series) to colorful, collage-like bands of images and text that collapse slivers of distinct events into surreal, ad hoc
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Xie's art spans diverse media, but is unified by career-long themes of the library, books and newspapers, through which he explores time, historical memory, and the role of media in perceptions of the world. Critics note in his work a balance between formal concerns, beauty and expressiveness on one
233:, inspiring him to combine his realist skills with contemporary ideas and issues. While in graduate school, he responded to his new American surroundings, painting scenes of junkyards, abandoned cars, and colorful, grocery-store abundance; he also initiated his soon-to-be signature "Library" works.
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Xie has created several offshoots of the "Newspaper" works. His largely black-and-white "Theater of Power" (2006–8) series draws on news photographs to depict
Chinese leaders and moments during the Bush administration in brushy ink-on-rice-paper and oil works that reflect on causes and effects and
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In 1993, Xie began painting library books, intrigued by the architectural quality of rows and stacks and by their conceptual potential as material carriers of ideology, cultural memory and history. He has explored this theme in many forms (decaying
Chinese manuscripts, venerable reference books,
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train of riders reading papers saturated with post-9/11 headlines (e.g., "Bloodbath," "Death Rattle"), set to a soundtrack of screeching trains and rapid-fire bongo music; it eventually empties leaving only the discarded dailies, in silence. In the collaborative photographic/public intervention
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manner that captures the play of ethereal light, texture (crinkled parchment, frayed leather edges, pockmarks) and shadow; his technique achieves precision but at times dissolves into near-abstraction or blurring that suggests a camera lens or the haze of memory. Xie is sometimes linked to the
429:(2011) is a slow-motion color video showing ancient Chinese tomes and books by modernist thinkers in several languages floating against a depthless black ground as if tossed into the air; a warm glow from beneath suggests fire, the history of book burning, and the perishability of knowledge.
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In 1999, Xie began teaching at
Bucknell University, while also pursuing exhibitions throughout the United States and in China; solo shows at the Scottsdale Museum of Contemporary Art (2000) and Charles Cowles Gallery (New York, 2002, 2004) soon followed, bringing him his first major critical
135:. His art work includes painting, drawing, photography, installation, and video, the best-known of which are his monumental paintings of library books and newspapers, which explore the ephemeral nature of time, history and cultural memory.
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Xie's work in other media share the conceptual preoccupations of his paintings. Several early installations (1994–9) addressed historical events involving censorship—the 20th-century student movements in China, the burning of books by the
360:). The "Both Sides Now" series (2007–15) conveys the complexity and confusion of media overload through opened-up newspapers with overlapping, layered text and images that seem to have bled through from the back onto the front. Xie's "
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in
Beijing (1988). A desire for a freer, less compromising career, however, compelled him to change to art. He enrolled at Central Academy of Arts and Design in Beijing, where he received a master's degree (1991) and honed a
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445:, JPMorgan Chase Art Collection, Microsoft Art Collection, San Jose Museum of Art, and Scottsdale Museum of Contemporary Art, among others. He has received awards and grants from the Joan Mitchell Foundation (2013),
352:: "shards of war are laid on top of one another: guns, soldiers, a fireball and a plume of black smoke rolling over a row of palm trees. The staccato burst of images gives the painting a kind of jazzy rhythm."
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Xie's labor-intensive "Library" paintings depict shelved books in large-scale close-up, revealing wear, human touch, and how objects are left. He paints in what critics describe as a soft, brushy, almost
209:, China in 1966. After developing an interest in art as child, and in science and technology in high school, he chose to study architecture as a compromise, earning a Bachelor of Architecture degree from
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critic
Kenneth Baker described Xie's approach as pairing "relaxed photorealism" with "conceptual tautness;" others describe it as a "hybrid-like, postmodern blend" of traditional painting,
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and contemporary documentary photography "laced with a decisively political undertone." Xie has had solo exhibitions at galleries throughout the world, and at institutions including the
364:" series (2013) extends his interest in ephemeral media with paintings of images downloaded from the popular Chinese social platform, many of them censored shortly after being posted.
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hand, and on the other, conceptual rigor that addresses contemporary issues such as war, violence, power, human tragedy, and the construction of cultural knowledge.
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397:, which compared first and second editions for censorship), life-size, mug-shot-like photographs of yellowing premodern books, and a documentary of Xie's research,
465:(2017, the inaugural residency) and Arcadia in Mount Desert Island (2012), which inspired a new body of work focusing on the history and content of the ancient
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Like many
Chinese students in the 1980s, Xie became interested in Western ideas. In 1991, his wife, Daxue Xu, received a scholarship to study physics at the
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Hopkins, Debra L. "Order: An
Installation and Paintings by Xiaoze Xie," curator’s essay, Scottsdale, AZ: Scottsdale Museum of Contemporary Art, 2000.
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In several works, Xie used newspapers as a metaphor for temporality and the transitory nature of life, events and cultural memory. The video
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Xie's work belongs to the public art collections of the Museum of Fine Arts, Houston, Denver Art Museum, Oakland Museum of
California,
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417:(2009, with Chen Zhong), he mounted newspaper on outside walls to create temporary monument/ruins throughout the Chinese city of
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Knoxville Museum of Art. "Knoxville Museum of Art
Presents Xiaoze Xie – Amplified Moments," Exhibition materials, 2011.
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Heartney, Eleanor. "The
Certainty of Uncertainty: History and Memory in the Work of Xiaoze Xie" (Catalogue essay),
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In the late 1990s, Xie expanded his oeuvre, painting library stacks of consecutive, folded newspapers that critic
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Critic Barbara Pollack described the latter show's effect as "a mournful combination of awe and sadness."
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461:'s Art-in-Architecture Program (2002). Xie has also been recognized with an artist-in-residencies at the
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161:(survey, 2011), and Modern Chinese Art Foundation (Ghent, Belgium). He has received awards from the
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Through Fire (Books that Survived the Anti-Japanese War of Resistance at Tsinghua University, No.1)
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380:, acquired books, display vitrines, dimensions variable, Installation, Denver Museum of Art, 2017.
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389:, the destruction of books by China's Red Guards. He returned to that theme in the installation
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308:, the work took on greater urgency as Xie chose eventful periods—the U.S. during the wars in
1409:, ("Introduction," Eleanor Heartney), U.S. General Services Administration, 2008, p.100–103.
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Updike, Robin. "Show Wrestles with Reality, Books Dominate Xie’s Haunting, Ambiguous Work,"
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described as a "conceptually based way of measuring time and history." In the aftermath of
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1088:"Confrontation and Disruption in a New Exhibition by Chinese-American Artist Xiaoze Xie,"
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narratives about war, tragedy, power and national identity ("Fragmentary Views" series).
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779:"Immigrant Heritage Month: Initial Public Offering: New Works from SJMA’s Collection,"
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1252:, April 26, 2006, p. 45. Retrieved August 20, 2019. Retrieved August 22, 2019.
1012:(Pacific Coast), December/January 2013, p. 150-153. Retrieved August 22, 2019.
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131:, where Xie is currently the Paul L. & Phyllis Wattis Professor of Art at
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Hawkins, Margaret. "Clever pieces show that by the word, it's still art,"
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1112:, Beijing/New York: Chambers Fine Art, 2017. Retrieved August 22, 2019.
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Doom, R. "Wanneer de dappere winterpruimen in de sneeuw bloesemen...,"
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Beinecke Rare Book & Manuscript Library, Yale University (Zi +1167)
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1072:, February 11, 2007, Section H, p. 1, 7. Retrieved August 22, 2019.
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1387:"Emphasis Is on Innovative Art For Growing Microsoft Collection,"
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730:(catalogue), Ghent, Belgium: Modern Chinese Art Foundation, 2006.
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Stanford University Department of Art and Art History faculty
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Schnoor, Christopher. "The News in Art at Boise Art Museum,"
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1041:"When Newspaper Photographs Are Worth a Thousand Paintings,"
169:, and his work belongs to the public art collections of the
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1339:"Xiaoze Xie: Objects of Evidence at Asia Society New York,"
670:"Challenging Censorship, One Meticulous Artwork at a Time,"
1046:, November 6, 2008. p. C1, C5. Retrieved August 22, 2019.
818:"Oral history interview with Xiaoze Xie, 2010 May 10–11."
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Stanford University Department of Art & Art History.
1376:, September 7, 2013, p. E-2. Retrieved August 22, 2019.
643:(catalogue), London: Moatti Masters/Contemporary, 2015,
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Dault, Gary Michael. "To Paint Book Is to Save Them,"
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Nichols, Matthew Guy. "Xiaoze Xie at Charles Cowles,"
625:, November 2008, p. 15–16. Retrieved August 22, 2019.
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GSA Art in Architecture Selected Artworks, 1997-2008
955:, January 9, 2010. p. E3. Retrieved August 22, 2019.
1195:"Xiaoze Xie: Read All About It, Enduring Ephemera,"
507:, March 21, 2004, p. 32. Retrieved August 22, 2019.
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1139:"Close Reading: Xie Xiaoze paints blown-up books,"
804:(Canada), June 5, 2015. Retrieved August 22, 2019.
799:"Exhibit shows transient nature of news and life,"
606:, June 23, 2012. p. E2. Retrieved August 22, 2019.
675:, November 21, 2019. Retrieved February 19, 2020.
563:Morse, Trent. "Xiaoze Xie at Chambers Fine Art,"
358:November 5, 2004. N.Y.T. (Bush Cabinet 2nd term)
333:November 5, 2004. N.Y.T. (Bush Cabinet 2nd Term)
237:attention. He has since had solo exhibitions at
1200:, February 15, 2018. Retrieved August 22, 2019.
1165:, February 15, 2018. Retrieved August 22, 2019.
656:(catalogue), Seoul, Korea: Gaain Gallery, 2007,
581:Wei, Lilly. "Xie Xiaoze at Chambers Fine Art,"
283:, in part, played a role in his chosen themes.
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1446:"China Urban: An Interview with Xie Xiaoze,"
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502:"Fish Wrap, Bird Cage Liner, Still Life,"
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620:"Previews of Exhibitions: Xie Xiaoze,"
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155:Scottsdale Museum of Contemporary Art
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1527:American artists of Chinese descent
1360:. Works. Retrieved August 22, 2019.
1323:. Works. Retrieved August 22, 2019.
1291:. Works. Retrieved August 22, 2019.
1278:. Works. Retrieved August 22, 2019.
1265:. Works. Retrieved August 22, 2019.
1239:. Works. Retrieved August 22, 2019.
1226:. Works. Retrieved August 22, 2019.
1125:. Works. Retrieved August 22, 2019.
1066:Vaughn, Katie. "Speaking Volumes,"
936:Artists. Retrieved August 22, 2019.
742:The Museum of Fine Arts, Houston.
335:, oil on linen, 70" x 110.5", 2008.
1477:20th-century American male artists
1472:21st-century American male artists
1110:Endurance: New Works by Xiaoze Xie
781:Events. Retrieved August 22, 2019.
527:People. Retrieved August 22, 2019.
457:(1996), and a commission from the
391:Rhythm of Time, Corridor of Memory
378:Objects of Evidence (Modern Books)
356:the staging of news events (e.g.,
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997:, February 22–28, 2006, p. 11–13.
256:, oil on canvas, 80" x 93", 2010.
1507:University of North Texas alumni
1224:"The Silent Flow of Daily Life,"
196:, oil on linen, 36" x 42", 2015.
1487:21st-century American painters
1467:20th-century American painters
1403:The Spirit of Law/Iowa Reports
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865:, July/August 2009, p. 41-50.
637:Moatti Masters/Contemporary.
728:Xiaoze Xie: Werken op papier
179:Oakland Museum of California
171:Museum of Fine Arts, Houston
919:. Review and reproduction,
447:Brooklyn Historical Society
433:Collections and recognition
399:Tracing Forbidden Memories.
34:1966 (age 57–58)
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1502:Tsinghua University alumni
923:, April 5, 2004. p.14, 18.
254:June–August 2008, G.Z.R.B.
167:Pollock-Krasner Foundation
87:Pollock-Krasner Foundation
1371:"Wilson-Ryckman and Xie,"
744:"Xiaoze Xie, Gold No. 8,"
549:, June/July 2004, p. 181.
439:Allen Memorial Art Museum
227:University of North Texas
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57:University of North Texas
1537:Educators from Guangdong
777:San Jose Museum of Art.
585:, December 2013, p. 107.
346:March–April 2003, P.P-G.
163:Joan Mitchell Foundation
83:Joan Mitchell Foundation
1492:Painters from Guangdong
1440:Xiaoze Xie faculty page
1374:San Francisco Chronicle
1160:"How Books Get Banned,"
1006:New American Painting.
953:San Francisco Chronicle
604:San Francisco Chronicle
344:wrote of works such as
318:2008 Sichuan earthquake
159:Knoxville Museum of Art
139:San Francisco Chronicle
16:Chinese-American artist
1482:American male painters
1442:, Stanford university.
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691:"Eyes On: Xiaoze Xie,"
640:Xiaoze Xie – Libraries
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350:March–April 2003, L.T.
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183:San Jose Museum of Art
66:Painting and drawing,
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1009:New American Painting
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406:October–December 2001
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296:"Newspaper" paintings
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1237:"Fragmentary Views,"
904:, February 25, 1999.
567:, June 2011, p. 109.
455:Dallas Museum of Art
441:at Oberlin College,
241:(New York/Beijing),
129:Stanford, California
1263:"Theater of Power,"
1137:Epstein, Edward M.
932:Chambers Fine Art.
758:Denver Art Museum.
689:Denver Art Museum.
395:Objects of Evidence
316:, China during the
281:Cultural Revolution
270:"Library" paintings
218:style inflected by
211:Tsinghua University
149:Museum (New York),
133:Stanford University
53:Tsinghua University
1337:Pollack, Barbara.
1308:The Stanford Daily
1174:Muchnic, Suzanne.
1044:The New York Times
889:The Globe and Mail
654:Xiaoze Xie: Legacy
505:The New York Times
451:Phoenix Art Museum
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342:The New York Times
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261:Work and reception
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207:Guangdong Province
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1423:Official website.
1401:Caine, William. "
1276:"Both Sides Now,"
1250:Chicago Sun-Times
1193:Boyle, Kathleen.
1179:Los Angeles Times
1176:"Old Meets Bold,"
668:Holmes, Jessica.
239:Chambers Fine Art
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175:Denver Art Museum
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147:Asia Society
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1462:1966 births
1430:, May 2010.
1342:CoBo Social
1142:artcritical
802:China Daily
500:Loos, Ted.
467:Mogao Caves
453:(1999) and
310:Afghanistan
279:during the
23:Xiaoze Xie
1456:Categories
1434:Xiaoze Xie
1123:"Library,"
473:References
427:Transience
277:Red Guards
105:Xiaoze Xie
97:Xiaoze Xie
1358:"Videos,"
425:project.
415:Last Days
220:modernism
216:realistic
117:Guangdong
72:Video art
49:Education
38:Guangdong
1289:"Weibo,"
797:Li, Na.
623:ArtScene
320:and the
1390:ARTnews
583:ARTnews
565:ARTnews
419:Kaixian
123:) is a
109:Chinese
93:Website
973:Review
763:, 2017
181:, and
111::
79:Awards
387:Nazis
362:Weibo
121:China
42:China
314:Iraq
312:and
306:9/11
165:and
31:Born
1405:,"
348:or
113:谢晓泽
25:谢晓泽
1458::
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