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Richard Serra

Richard Serra, Splashing, 1968 Lead, c. 18 inches × 26 feet (45.7 cm × 7.92 m), installed in Nine at Castelli, Castelli Warehouse, New York, December 4–28, 1968© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Harry Shunk

Richard Serra, Splashing, 1968

Lead, c. 18 inches × 26 feet (45.7 cm × 7.92 m), installed in Nine at Castelli, Castelli Warehouse, New York, December 4–28, 1968
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Harry Shunk

Richard Serra, Verb List, 1967–68 Graphite on paper, 2 sheets, each: 10 × 8 ½ inches (25.4 × 21.6 cm), Museum of Modern Art, New York© 2018 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Verb List, 1967–68

Graphite on paper, 2 sheets, each: 10 × 8 ½ inches (25.4 × 21.6 cm), Museum of Modern Art, New York
© 2018 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Strike: To Roberta and Rudy, 1969–71 Hot-rolled steel, 8 feet 1 inch × 24 feet × 1 ½ inches (246.4 × 732 × 3.8 cm), Solomon R. Guggenheim Museum, New York© 2018 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Strike: To Roberta and Rudy, 1969–71

Hot-rolled steel, 8 feet 1 inch × 24 feet × 1 ½ inches (246.4 × 732 × 3.8 cm), Solomon R. Guggenheim Museum, New York
© 2018 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Abstract Slavery, 1974 Paintstick on Belgian linen, 9 feet 6 inches × 17 feet 8 inches (2.89 × 5.38 m), Kröller-Müller Museum, Otterlo, Netherlands© 2018 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Abstract Slavery, 1974

Paintstick on Belgian linen, 9 feet 6 inches × 17 feet 8 inches (2.89 × 5.38 m), Kröller-Müller Museum, Otterlo, Netherlands
© 2018 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Terminal, 1977 Weatherproof steel, 4 plates, each: 41 feet × 12 feet × 2 ½ inches (12.5 m × 3.7 m × 6.4 cm), installed at Centrol Station, Bochum, Germany, 1979© 2018 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Terminal, 1977

Weatherproof steel, 4 plates, each: 41 feet × 12 feet × 2 ½ inches (12.5 m × 3.7 m × 6.4 cm), installed at Centrol Station, Bochum, Germany, 1979
© 2018 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Clara-Clara, 1983 Weatherproof steel, 2 plates, 12 feet × 109 feet × 2 inches (3.7 m × 33.2 m × 5.1 cm), 12 feet × 107 feet 10 feet × 2 inches (3.7 m × 32.8 m × 5.1 cm), installed at Jarden des Tuileries, Paris, for Richard Serra, Centre Georges Pompidou, Paris, 1984© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Dirk Reinartz

Richard Serra, Clara-Clara, 1983

Weatherproof steel, 2 plates, 12 feet × 109 feet × 2 inches (3.7 m × 33.2 m × 5.1 cm), 12 feet × 107 feet 10 feet × 2 inches (3.7 m × 32.8 m × 5.1 cm), installed at Jarden des Tuileries, Paris, for Richard Serra, Centre Georges Pompidou, Paris, 1984
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Dirk Reinartz

Richard Serra, Afangar (Stations, Stops on the Road, To Stop and Look: Forward and Back, To Take It All In), 1990 Basalt, 18 stones; nine, each: 9 feet 10 inches × 21 ¾ inches × 21 ¾ inches (3 m × 55.2 cm × 55.2 cm); nine, each: 13 feet 1 ½ inches × 21 ¾ inches × 21 ¾ inches (4 m × 55.2 cm × 55.2 cm), permanently installed at Videy Island, Iceland© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Dirk Reinartz

Richard Serra, Afangar (Stations, Stops on the Road, To Stop and Look: Forward and Back, To Take It All In), 1990

Basalt, 18 stones; nine, each: 9 feet 10 inches × 21 ¾ inches × 21 ¾ inches (3 m × 55.2 cm × 55.2 cm); nine, each: 13 feet 1 ½ inches × 21 ¾ inches × 21 ¾ inches (4 m × 55.2 cm × 55.2 cm), permanently installed at Videy Island, Iceland
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Dirk Reinartz

Installation view, Richard Serra: Torqued Ellipses, Dia Center for the Arts, New York, 1997–98. Left: Torqued Ellipse I (1996), right: Torqued Ellipse II (1996), back: Torqued Ellipse (1997) Artwork © 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Dirk Reinartz

Installation view, Richard Serra: Torqued Ellipses, Dia Center for the Arts, New York, 1997–98. Left: Torqued Ellipse I (1996), right: Torqued Ellipse II (1996), back: Torqued Ellipse (1997)

Artwork © 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Dirk Reinartz

Richard Serra, out-of-round X, 1999 Paintstick on Hiromi paper, 79 ½ × 79 inches (201.9 × 200.7 cm), Museum of Modern Art, New York© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, out-of-round X, 1999

Paintstick on Hiromi paper, 79 ½ × 79 inches (201.9 × 200.7 cm), Museum of Modern Art, New York
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Te Tuhirangi Countour, 2000–01 Weatherproof steel, 19 feet 8 inches × 843 feet 2 inches × 2 inches (6 m × 257 m × 5 cm), permanently installed at Gibbs Farm, Kaipara Harbour, New Zealand© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Dirk Reinartz

Richard Serra, Te Tuhirangi Countour, 2000–01

Weatherproof steel, 19 feet 8 inches × 843 feet 2 inches × 2 inches (6 m × 257 m × 5 cm), permanently installed at Gibbs Farm, Kaipara Harbour, New Zealand
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Dirk Reinartz

Richard Serra, Elevational Mass, 2006 Hot-rolled steel, 60 × 84 × 72 inches (152.4 × 213.4 × 182.9 cm)© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Peppe Avallone

Richard Serra, Elevational Mass, 2006

Hot-rolled steel, 60 × 84 × 72 inches (152.4 × 213.4 × 182.9 cm)
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Peppe Avallone

Richard Serra, Promenade, 2008 Weatherproof steel, 5 plates, each: 55 feet 9 ¼ inches × 13 feet 1 ½ inches × 5 inches (17 m × 4 m × 13 cm), installed at Monumenta 2008, Grand Palais, Paris, May 7–June 15, 2008© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Lorenz Kienzle

Richard Serra, Promenade, 2008

Weatherproof steel, 5 plates, each: 55 feet 9 ¼ inches × 13 feet 1 ½ inches × 5 inches (17 m × 4 m × 13 cm), installed at Monumenta 2008, Grand Palais, Paris, May 7–June 15, 2008
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Lorenz Kienzle

Richard Serra, Backdoor Pipeline, 2010 Weatherproof steel, 12 feet 6 inches × 12 feet 10 ⅜ inches × 49 feet 8 inches (3.8 × 3.9 × 15.1 m), plates: 2 inches (5 cm) thick© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Mike Bruce

Richard Serra, Backdoor Pipeline, 2010

Weatherproof steel, 12 feet 6 inches × 12 feet 10 ⅜ inches × 49 feet 8 inches (3.8 × 3.9 × 15.1 m), plates: 2 inches (5 cm) thick
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Mike Bruce

Richard Serra, Elevational Weights, Black Matter, 2010 Paintstick on handmade paper, 81 ¾ × 68 ¼ inches (207.6 × 173.4 cm)© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Elevational Weights, Black Matter, 2010

Paintstick on handmade paper, 81 ¾ × 68 ¼ inches (207.6 × 173.4 cm)
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, 7, 2011 Weatherproof steel, 7 plates, overall: 80 × 10 × 10 feet (24.38 × 3.05 × 3.05 m), permanently installed at Qatar Museums Authority, Doha© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Cristiano Mascaro

Richard Serra, 7, 2011

Weatherproof steel, 7 plates, overall: 80 × 10 × 10 feet (24.38 × 3.05 × 3.05 m), permanently installed at Qatar Museums Authority, Doha
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Cristiano Mascaro

Richard Serra, Double Rift #5, 2012 Paintstick on handmade paper, 114 × 211 ½ inches (289.6 × 537.2 cm)© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Double Rift #5, 2012

Paintstick on handmade paper, 114 × 211 ½ inches (289.6 × 537.2 cm)
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Inside Out, 2013 Weatherproof steel, overall: 13 feet 2 inches × 80 feet 9 inches × 40 feet 2 ½ inches (4 × 24.6 × 12.3 m), plates: 2 inches (5 cm) thick© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Lorenz Kienzle

Richard Serra, Inside Out, 2013

Weatherproof steel, overall: 13 feet 2 inches × 80 feet 9 inches × 40 feet 2 ½ inches (4 × 24.6 × 12.3 m), plates: 2 inches (5 cm) thick
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Lorenz Kienzle

Richard Serra, East-West/West-East, 2014 Weatherproof steel, 4 plates; two, each: 54 feet 9 ½ inches × 13 feet 1 ½ inches × 5 ¼ inches (16.7 m × 4 m × 13.3 cm); two, each: 48 feet 2 ¾ inches × 13 feet 1 ½ inches × 5 ¼ inches (14.7 m × 4 m × 13.3 cm), permanently installed at Brouq Nature Reserve, Zekreet Desert, Qatar© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Cristiano Mascaro

Richard Serra, East-West/West-East, 2014

Weatherproof steel, 4 plates; two, each: 54 feet 9 ½ inches × 13 feet 1 ½ inches × 5 ¼ inches (16.7 m × 4 m × 13.3 cm); two, each: 48 feet 2 ¾ inches × 13 feet 1 ½ inches × 5 ¼ inches (14.7 m × 4 m × 13.3 cm), permanently installed at Brouq Nature Reserve, Zekreet Desert, Qatar
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Cristiano Mascaro

Richard Serra, Through, 2015 Forged steel, 3 slabs, overall: 9 feet 2 ¼ inches × 29 feet 6 ½ inches × 7 feet 8 ¼ inches (2.8 m × 9 m × 234.3 cm)© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Cristiano Mascaro

Richard Serra, Through, 2015

Forged steel, 3 slabs, overall: 9 feet 2 ¼ inches × 29 feet 6 ½ inches × 7 feet 8 ¼ inches (2.8 m × 9 m × 234.3 cm)
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Cristiano Mascaro

Richard Serra, Ramble 4–26, 2015 Litho crayon and pastel powder on paper, 35 ½ × 36 ¾ inches (90.2 × 93.3 cm)© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Ramble 4–26, 2015

Litho crayon and pastel powder on paper, 35 ½ × 36 ¾ inches (90.2 × 93.3 cm)
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Ramble 3-6, 2015 Litho crayon on paper, 22 × 30 inches (55.9 × 76.2 cm)© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Ramble 3-6, 2015

Litho crayon on paper, 22 × 30 inches (55.9 × 76.2 cm)
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Rounds: Equal Weight, Unequal Measure, 2016 Forged steel, 2 rounds, overall: 6 feet 10 ½ inches × 17 feet 4 ½ inches × 7 feet 4 ½ inches (209.6 cm × 5.3 m × 224.8 cm)© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Mike Bruce

Richard Serra, Rounds: Equal Weight, Unequal Measure, 2016

Forged steel, 2 rounds, overall: 6 feet 10 ½ inches × 17 feet 4 ½ inches × 7 feet 4 ½ inches (209.6 cm × 5.3 m × 224.8 cm)
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Mike Bruce

About

Obsession is what it comes down to. It is difficult to think without obsession, and it is impossible to create something without a foundation that is rigorous, incontrovertible, and, in fact, to some degree repetitive. Repetition is the ritual of obsession. Repetition is a way to jumpstart the indecision of beginning. To persevere and to begin over and over again is to continue the obsession with work. Work comes out of work. In order to work you must already be working.
—Richard Serra

One of the most significant artists of his generation, he has produced large-scale, site-specific sculptures for architectural, urban, and landscape settings spanning the globe, from Iceland to New Zealand.

Born in 1938 in San Francisco, Richard Serra lives and works in New York and on the North Fork of Long Island. Serra attended the University of California, Berkeley before transferring to the University of California, Santa Barbara graduating with a BA in English literature; he then studied painting at Yale University, New Haven, Connecticut completing both a BFA and MFA. He began showing with Leo Castelli in 1968, and his first solo exhibition in New York was held at the Leo Castelli Warehouse the following year. His first solo museum exhibition was held at the Pasadena Art Museum, California, in 1970.

Serra’s sculptures and drawings have been celebrated with two retrospectives at the Museum of Modern Art, New York, twenty years apart: Richard Serra/Sculpture (1986) and Richard Serra Sculpture: Forty Years (2007). He has had solo exhibitions at the Stedelijk Museum, Amsterdam (1977–78); Kunsthalle Tübingen, Germany (1978); Staatliche Kunsthalle Baden-Baden, Germany (1978); Museum Boijmans Van Beuningen, Rotterdam, Netherlands (1980, 2014, and 2017); Centre Pompidou, Paris (1983–84); Museum Haus Lange, Krefeld, Germany (1985); Louisiana Museum, Humlebæk, Denmark (1986); Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, Germany (1987); Städtische Galerie im Lenbachhaus, Munich (1987); Stedelijk Van Abbemuseum, Eindhoven, Netherlands (1988); Bonnefantenmuseum, Maastricht, Netherlands (1990); Kunsthaus Zürich (1990); CAPC Musée d’Art Contemporain, Bordeaux, France (1990); Museo Nacional Centro de Arte Reina Sofía, Madrid (1992); Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany (1992); Dia Center for the Arts, New York (1997); Centro de Arte Hélio Oiticica, Rio de Janeiro (1997–98); Trajan’s Market, Rome (1999–2000); Pulitzer Arts Foundation, St. Louis (2003); and Museo Archeologico Nazionale di Napoli, Naples, Italy (2004).

In 2005 The Matter of Time (1994–2005), a series of eight large-scale works, was installed permanently at the Guggenheim Museum Bilbao, Spain. For Monumenta 2008, the major site-specific installation Promenade was shown at the Grand Palais, Paris. Three years later the  large-scale, site-specific sculpture was permanently installed opposite the Museum of Islamic Art in Doha, Qatar. A major traveling retrospective dedicated to Serra’s drawings was presented at the Metropolitan Museum of Art, New York, San Francisco Museum of Modern Art, and the Menil Collection, Houston (the organizing venue), from 2011 to 2012.

In 2014 the Qatar Museums Authority presented a two-venue retrospective survey of Serra’s work, and East-West/West-East (2014) was permanently installed in the Brouq Nature Reserve, Zekreet, Qatar. In 2017 the Museum Wiesbaden, Germany, presented Richard Serra: Props, Films, Early Works; an overview of Serra’s work in film and video was shown at the Kunstmuseum Basel; and recent drawings were featured at the Museum Boijmans Van Beuningen.

Serra has participated in numerous major international exhibitions, including Documenta (1972, 1977, 1982, and 1987), and the Biennale di Venezia (1980, 1984, 2001, and 2013), and his work has been included in many Whitney Annuals and Biennials (1968, 1970, 1973, 1977, 1979, 1981, 1995, and 2006). He is the recipient of the Leone d’Oro for lifetime achievement, Biennale di Venezia, Venice (2001); Orden Pour le Mérite für Wissenschaften und Künste, Federal Republic of Germany (2002); Orden de las Artes y las Letras de España, Spain (2008); President’s Medal, Architectural League of New York (2014); Chevalier de l’Ordre national de la Légion d’honneur, Republic of France (2015); and J. Paul Getty Medal (2018).

Since 1983 Gagosian has presented more than thirty solo exhibitions of Serra’s work in the US and Europe.

Richard Serra

Photo: Jason Andrew/Getty Images

Fairs, Events & Announcements

Richard Serra: Triptychs and Diptychs, Forged Rounds, Reverse Curve (New York: Gagosian, 2020)

Online Reading

Richard Serra
Triptychs and Diptychs, Forged Rounds, Reverse Curve

Richard Serra: Triptychs and Diptychs, Forged Rounds, Reverse Curve is available for online reading from June 14 through July 13 as part of the From the Library series. Housed in a slipcase, this two-volume set documents Serra’s three concurrent 2019 New York exhibitions, which presented five new sculptures and more than twenty drawings by the artist. An essay by Julian Rose provides an in-depth examination of the monolithic nature of Serra’s work, and its engagement with architecture on its own terms.

Richard Serra: Triptychs and Diptychs, Forged Rounds, Reverse Curve (New York: Gagosian, 2020)

Helen Frankenthaler, Orange Underline, 1963 © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York

Art Fair

Basel Online 2020

In our most significant online sales presentation to date, Gagosian unveils important works by modern and contemporary masters through two separate online platforms—Gagosian Online and Art Basel Online. These individually curated selections offer collectors direct access to artworks of the highest caliber. To experience the presentation in its entirety, viewers will need to visit both gagosian.com and artbasel.com. The works on gagosian.com will rotate every forty-eight hours, for a total of five cycles.

Helen Frankenthaler, Orange Underline, 1963 © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York

Adam McEwen, Escape from New York, 2014 (still from “Battery Tunnel”) © Adam McEwen

Online Exhibition

Broadcast
Alternate Meanings in Film and Video

You’re only as young as the last time you changed your mind.
—Timothy Leary

Gagosian is pleased to present Broadcast: Alternate Meanings in Film and Video, an online exhibition of artists’ films and videos viewable exclusively on gagosian.com. The exhibition will be organized into a series of “chapters,” each lasting two weeks. The first chapter begins on Tuesday, May 19, 2020.

Broadcast: Alternate Meanings in Film and Video employs the innate immediacy of time-based art to spark reflection on the here and now, taking the words of famed psychologist and countercultural icon Timothy Leary as its starting point. 

Adam McEwen, Escape from New York, 2014 (still from “Battery Tunnel”) © Adam McEwen

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Museum Exhibitions

Pablo Picasso, Buste de femme de profil (Femme écrivant), 1932, Fondation Beyeler, Riehen/Basel © Succession Picasso/2020, ProLitteris, Zurich

On View

Stilles Sehen
Bilder der Ruhe

Through November 29, 2020
Fondation Beyeler, Riehen/Basel
www.fondationbeyeler.ch

This exhibition, whose title translates to Silent Vision: Images of Calm and Quiet, features works of modern and contemporary art that deal with the subject of tranquility. Each room is dedicated to a specific aspect of calmness, inviting visitors to see and contemplate, as it were, stillness. Work by Alberto Giacometti, Roy Lichtenstein, Pablo Picasso, Gerhard Richter, Richard Serra, and Andy Warhol is included.

Pablo Picasso, Buste de femme de profil (Femme écrivant), 1932, Fondation Beyeler, Riehen/Basel © Succession Picasso/2020, ProLitteris, Zurich

Andreas Gursky, Amazon, 2016 © Andreas Gursky/Artist Rights Society (ARS), New York/VG Bild-Kunst, Bonn

Closed

The Supermarket of Images

February 11–June 7, 2020
Jeu de Paume, Paris
www.jeudepaume.org

In an age that is oversaturated with images, this exhibition asks questions about their economy—their storage, management, circulation, and fluctuating values. Work by Andreas Gursky and Richard Serra is included.

Andreas Gursky, Amazon, 2016 © Andreas Gursky/Artist Rights Society (ARS), New York/VG Bild-Kunst, Bonn

Ellen Gallagher, Untitled (10), 2000 © Ellen Gallagher

Closed

Praying for Time

March 2–July 8, 2018
Rose Art Museum, Brandeis University, Waltham, Massachusetts
www.brandeis.edu

Marked by the fall of the Berlin Wall, the attacks of September 11, and civil war, the end of the twentieth century can also be viewed as a time that presaged immense global revolutions, both social and digital, that have transformed our world. Praying for Time reflects the diversity of voices and concerns in art produced during that pivotal period from 1980 through the early 2000s. Work by Gregory Crewdson, Ellen Gallagher, Richard Prince, Richard Serra, and Andy Warhol is included. 

Ellen Gallagher, Untitled (10), 2000 © Ellen Gallagher

Jeff Koons, Rabbit, 1986 © Jeff Koons.Photo by Nathan Keay © MCA Chicago

Closed

We Are Here

August 19, 2017–April 1, 2018
Museum of Contemporary Art Chicago
mcachicago.org

In honor of the Museum of Contemporary Art’s fiftieth anniversary, the museum presents We Are Here, a three-part exhibition drawn from its collection. I Am You gathers works that question how we relate to and shape our environments; You Are Here examines how the role of the viewer has changed over time; and We Are Everywhere showcases artists who borrow from popular culture. Work by Richard Artschwager, Francis Bacon, Chris Burden, Ellen Gallagher, Andreas Gursky, Michael Heizer, Jasper Johns, Jeff Koons, Takashi Murakami, Bruce Nauman, Richard Serra, Cindy Sherman, Rudolf Stingel, Andy Warhol, and Franz West is included.

Jeff Koons, Rabbit, 1986 © Jeff Koons.
Photo by Nathan Keay © MCA Chicago

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Press

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