How Polish artist created a monumental work of art, which for decades decorated the facade of one of America's most important department stores
Author: Paweł Sokołowski
Introduction: A vision to measure the giant
In 1967, on the facade of a department store Alexander in Paramus, New Jersey, appeared a mural of sizes that were breathtaking. Two hundred eighty enamel panels in steel, each weighing approximately 209 kilograms (460 pounds), created a composition with a total surface area 61 by 15.2 meters (200 by 50 ft) – the world's largest mural at the time. Its creator was Stefan Knapp (1921-1996), a Polish artist who, after the traumatic experiences of the Second World War, found not only a shelter in Britain, but also a place to develop revolutionary technology of emalic painting on steel.
The story of this monumental work is a story of an artistic vision that crossed the boundaries between art and architecture, between Europe and America, between tradition and modernity. At the same time, it is a story of how one man, armed with a brush and an emalie, could create a work that for decades defined the landscape of American retail and became a symbol the democratisation of high art. Mural Alexander represents the culminating moment in the artist's career, which throughout his life sought to create monumental art available to the masses, while preserving the highest aesthetic and technical qualities.
The significance of this work goes far beyond its physical dimensions. It constitutes artistic manifesto of Polish expatriate, which in the new world could combine European art tradition with American momentum and entrepreneurship. This Mural is also a testimony to an era in which public art became an integral part of commercial architecture, and the boundaries between high and popular art were blurred. In the context of the history of Polish emigration after the war, Knapp's work is one of the most important examples of the successful adaptation of the Polish artist in the Anglo-Saxon environment, where he could not only survive, but also gain international recognition.
Road to America: From pilot of the Royal Air Force to artist
Stefan Knapp came to this monumental realization through a road full of dramatic twists of action, which fundamentally shaped his later artistic vision. Born July 11, 1921, Biłgoraj, in a family of patriotic traditions, as a young man experienced the full spectrum of horrors of World War II. His war biography is almost a textbook example of the fate of the Polish generation, which was thrown into the whirl of historical cataclysms.
First, after Soviet aggression against Poland in September 1939, he went to camps in Siberiawhere he learned for two years the reality of the Soviet repression system. This experience, although traumatic, taught him the perseverance and ability to survive under the most difficult conditions – features that later proved essential in his artistic career. After being released from the camps as part of the 1941 amnesty, Knapp made his way through Iran and the Middle East to Britain, where he joined Royal Air Force.
As a fighter pilot he fought in Battles for England, participating in one of the most important clashes of World War II. The experience of flying over Europe, observing landscapes from a bird's flight perspective, had a huge impact on his later work. In interviews from the 1960s Knapp repeatedly emphasized that his monumental compositions were inspired by the views he observed from the cockpit of the fighter – abstract patterns of fields, forests and cities, which from the height were arranged in geometric compositions with unusual color harmony.
After the war ended, Knapp faced a dilemma that touched thousands of Polish soldiers in the West: returning to communist Poland or remaining in exile. The choice was obvious to him – he decided to settle in Britain, where in the 1950s he developed his characteristic technique of enamel painting on steel. That psychic choice wasn't random. The painting, as a technique combining painting with craftsmanship, corresponded to his need to create permanent art, resistant to destruction – a need that resulted from the experience of war and the loss of his homeland.
As he mentioned in his autobiography "The Square Sun" of 1956: "Emalia on steel gives me the opportunity to create colors that are both intense and durable. This medium allows me to paint not only paintings, but entire environments that will survive for generations".
A breakthrough in his career was the exhibition in Hanover Gallery in London in 1954who received an enthusiastic review in an American magazine "Time". The critic wrote: "Knapp's unusual compositions show a mastery of color and form that ranks him among the most innovative artists of his generation". This review, published in one of America's most influential cultural magazines, opened the door to the American art market and launched a process that led to the creation of a mural for the Alexander department store.
Revolutionary Technique: Emalic Painting on Steel
Before we go to the history of the mural for the department store Alexander, it is necessary to understand the revolutionaryity of the technique Knapp developed and patented in the 1950s. Paint on steel was at that time an absolute novum in the world of art, combining traditional painting techniques with industrial metallurgical processes. This innovative method required the artist not only an aesthetic vision, but also a deep knowledge of the chemistry of materials, high temperature physics and technological processes used in the ceramic industry.
Knapp's creative process was characterized by remarkable precision and multi-stageness, which required months of preparation and planning. The first stage was carefully preparing the steel substrate – the panels were cleaned with all impurities, greased and subjected to special surface treatment, which provided ideal adhesion of enamels. Then the artist applied another special layer ceramic enamelseach required precise selection of chemical composition and firing temperature.
These emalies, mainly imported from Germany and France, were mixed by Knapp according to his own recipes, which he kept in strict secrecy. Each layer was fired at high temperature about 800 degrees Celsius, which resulted in enamel melting and their permanent connection to the metal substrate. The most fascinating aspect of this technique was the ability to obtain extraordinary color depth and optical effects, which were impossible to achieve with traditional painting methods.
Knapp could even wear five or six layers of enameleach of which had a different chemical composition and reacted differently to the high temperature. As a result, colors of extraordinary intensity and depth were formed, which varied depending on the angle of light falling and the time of day. Additionally, the surface was completely weather-resistant – it did not fade under the influence of ultraviolet rays, it did not rust and did not corrode, making it ideal for public art applications.
The documentation of this process was immortalized in the film "The Metal Painter" of 1960, filmed by the BBC at Knapp's studio in Sandhill, Surrey County. This film, a priceless historical source, shows an artist working with an assistant at huge industrial furnaces, which allowed to burn panels of sizes up to 2.4 metres (8 feet). In the film, we see Knapp, as with the precision of the surgeon, imposes further layers of enamel, using special brushes and spatulas, and then controls the firing process, observing through the viewfinder the furnace, how the enamels melt and connect to the metal substrate.
Project genesis: Visionary meets patron
The history of mural for the department store Alexander began in the mid-60s, during the dynamic development of the American economy and consumer culture. Network of department stores Alexander, founded by George Farkas in 1928, she was experiencing an unprecedented growth period, transforming from a small store in the Bronx into one of the most important trade chains on the eastern coast of the United States.
Farkas, the son of Jewish immigrants from Eastern Europe, represented a new generation of American entrepreneurs who combined commercial success with social and cultural vision. His business philosophy was based on the belief that retail may and should be a medium of cultural valuesNot just economic. George Farkas was not only an entrepreneur, but also an art enthusiast who over the years built a significant collection of works by contemporary American and European artists.
His interest in art was not only a hobby of a wealthy businessman, but was due to his deep conviction of the social role of art in democratic society. Farkas believed that High-class art should be available to all social strataNot just for the intellectual and financial elite. This philosophy was reflected in the concept of a new flagship store in Paramus, which was to be not only a shopping centre but also a cultural landscape of the region.
As he recalls Barbara Jakobson, daughter of Farkas and later owner of parts of mural panels: "My father believed that art should be available to everyone, not just to the elite. He wanted people shopping to have contact with real art, so that beauty became part of their daily lives".
Stefan Knapp's choice on the author of the mural was not accidental, but it was due to a long-term search for an artist who could realize Farkas' ambitious vision. Knapp has already gained recognition in the United States thanks to the exhibition in Pierre Matisse's Gallery in New York in 1957which was enthusiastically accepted by critics and collectors. His works were included in collections of the most important American museums, including the Museum of Modern Art in New York City and the Museum of Fine Arts in Dallas, indicating the artist's high standing in the American art world.
Moreover, his experience in creating monumental murals for Heathrow Airport in London – seventeen panels installed in 1961 – proved to be able to work on a large scale and create works resistant to intense public use. The decision to order Knapp to create a mural was also an expression of a wider trend in the American culture of the 1960s when corporations began investing in public art as an element of image building and social responsibility.
Creative process: A map of the world from a pilot perspective
The concept of mural for the freight house Alexander was deeply personal for Knapp and stemmed directly from his wartime experience as a fighter pilot. In an interview with the Bergen Museum, the artist explained: "This mural is my world map inspired by the sights I saw as a pilot during the war. It's a perspective from a bird's eye to the landscape, which at the same time fascinates and scares, which is beautiful and dangerous at the same time". This autobiographical inspiration gave the work a dimension not only aesthetic but also existential – the mural became specific meditation on human experience of war, emigration and searching for a new home In a strange world.
Artist spent more than a year in composition designwhich was an unprecedented period of preparation for the standards of commercial art at the time. Each of the two hundred and eighty panels was individually designed on a scale of 1:10 and then enlarged to target sizes about 1.2 by 1.8 meters (4 by 6 feet). However, all panels created a coherent, flowing composition that resembled from a distance an abstract map of a continent seen from a height of several thousand meters.
Colours – from deep ocean blues through the living reds of deserts to the golden yellows of farmland – were selected to change depending on the time of day and the angle of falling light, mimicking the natural changes in the lighting of the landscape observed from the aircraft. The design process required Knapp to solve the fundamental compositional problem: how to create a work that would function both as a whole seen from a distance and as a collection of individual panels viewed from close up.
The artist solved this problem by developing a system "double scale" – each panel had its own internal composition, which was interesting in itself, but at the same time it was part of a larger whole. This technique, inspired by medieval polyps, but used in a modern context, allowed viewers to have different levels of reception of the work depending on the distance and time of observation.
Knapp's special attention was given to the colours, which were to be not only aesthetically attractive, but also psychologically affecting customers a department store. The artist then studied the latest research on colour psychology and their impact on consumer behaviour. The dominant blues and greens in the mural were supposed to act calmly and encourage longer stay in the commercial space, while accents in warm colors – reds, oranges and bile – were supposed to stimulate activity and decision-making.
The most innovative aspect of the project was the application of technology "light modulation"Knapp developed specifically for this mural. It involved such selection of chemical composition of enamels that different areas of composition reacted differently to changes in lighting during the day. In the morning, when the sun was shining from the east, warm and golden tons prevailed. At noon, at full light, the mural exploded with full colors, showing all the nuances of the composition. In the evening, in artificial lighting, deep blues and violets were placed on the foreground, giving the whole a mysterious, almost cosmic character.
Technical challenges: Art-measured engineering
Creation of mural of size 61 by 15.2 meters required solutions to unprecedented technical challenges that went far beyond the standard problems of building monumental art. The first and most important challenge was the size and weight of individual panels. Each of the two hundred and eighty elements was about 1.2 by 1.8 meters tall and weighed about 209 kilograms, which meant that the total mass of the panels themselves exceeds 58 tonnes.
Such parameters required the development of special transport, storage and assembly systems which had no precedent in the art practice of the time. Knapp had to work with structural engineers, logistics specialists and transport companies to ensure that the panels were safely moved from his studio in Surrey to New York City, followed by their precise installation on the facade of the building.
The second key challenge was mural resistance to extreme weather conditions The climate of New Jersey. Mural had to withstand not only cyclic temperature changes from winter frosts reaching minus 20 degrees Celsius to summer heats exceeding 35 degrees, but also intense rainfall, snow, hail, and even hurricanes that periodically haunt the eastern coast of the United States.
Knapp solved these problems by developing special formula of enamels enriched with UV-resistance additives and thermal stabilizers that prevented surface cracking with rapid temperature changes. The third important challenge was the issue of colour durability for decades of exposure to intense sunlight. Knapp, working with German and French producers of ceramic enamels, developed an innovative formula containing special inorganic pigments and stabilizing additives that not only preserved the intensity of colours, but in some cases even increased it under the influence of light.
The fourth, equally important problem was the installation of two hundred and eighty panels on the facade of the building in such a way that they created a coherent composition without visible interruptions or inequality. Each panel had to be mounted with precision up to a few millimetres, which on the scale of the entire mural meant that it was necessary to develop flexible mounting system, which allowed the panels to have minimal movements resulting from thermal expansion of steel while maintaining the visual continuity of the whole composition.
Implementation: Twelve months of intensive work
The implementation of mural began in January 1966 in Knapp's studio in Sandhill, Surrey County, where the artist led for the next twelve months the most ambitious project of his career. The studio that Knapp specifically adapted to the needs of this project was equipped with three industrial ceramic furnaces, each capacity allowing simultaneous firing of several panels of 1.2 by 1.8 metres. Additionally, the artist hired a team of five assistants – experts in metalworking, ceramics and painters – who worked under his direct supervision.
The organization of work was rather like Renaissance production than contemporary art studios, with a clearly defined division of roles and a rigorous production schedule. The first stage of implementation, which lasted from January to March 1966, was devoted to finalization of projects and preparation of materials. Knapp created full-size sketches of the whole composition, using the innovative grid system technology at the time, which allowed precise project transfer to individual panels.
Each of the two hundred and eighty panels was numbered and accurately described in a special catalogue that included information on the colours, texture of the surface and order of application of enamel layers. In parallel, two hundred and eighty steel panels were ordered in a specialized steelworks in Sheffield, known for producing high-quality steel for the aviation industry. Each panel was individually checked for surface quality, dimensions and chemical composition of steel, which was crucial for ensuring a uniform adhesion of enamels.
The second stage, covering the period from April to May 1966, focused on the preparation of panels for the embalming process. Each element went through a complex purification process, which included defatting in alkaline baths, sandblasting for adequate surface roughness and final purification in acid baths. Knapp personally supervised every stage of preparation, rejecting panels that did not meet his strict quality standards. Of the originally ordered two hundred eighty panels, Twenty-three were rejected at this stage and replaced by new ones.
The third stage, the most intense period of work lasting from June 1966 to February 1967, was devoted to the proper process of embalming. Knapp and his team worked in the system three changes, using all three furnaces simultaneously, allowing for a continuous production cycle. The artist personally applied the first layer of enamel to each panel, specifying the basic color and composition, while the assistants were preparing subsequent panels and controlling the firing process.
Each panel went through average four to six cycles of painting and firing, with some particularly complex fragments requiring even eight layers. This process required extraordinary time precision – each layer had to be burned at a strictly defined temperature and for exactly measured time to get the desired color effect and surface texture.
The fourth stage, lasting from March to April 1967, included quality control and preparation for transport. Each completed panel was individually checked for the quality of enameling, colour intensity and conformity to the project. Knapp, known for his perfectionism, rejected at this stage another twenty-three panelswhich in his opinion did not meet the highest artistic standards. These rejected panels were re-worked or replaced entirely with new ones.
The fifth and final stage of implementation, covering the period from May to June 1967, was devoted to the packaging and transport of panels to the United States. Each panel is packed in specially designed boxes lined with protective foam and equipped with shock absorbers during transport. The crates were transported by trucks to Southampton Harbor, from where the cargo ship reached New York City. The entire transport operation was insured for an amount exceeding $1 millionwhich shows the artistic and material value of the work.
Solemn unveiling: The artistic event of the decade
June 15, 1967 There was a ceremonial opening of the mural for the department store Alexander, which was described by the press as a "art event of the decade" and gathered representatives of the world of art, business and politics from all over the eastern coast of the United States. The inauguration ceremony, carefully planned by a team of public relations professionals, was intended not only to present Knapp's work, but also to establish a new standard in the field of corporate art.
This event was broadcast by local television stations and reported by the most important American cultural magazines, indicating the rank given to this venture. George Farkas in the inaugural speech, which was later published entirely in the magazine "Art in America", he said: "This mural is not just a decoration of our shop. This is a manifestation of our belief that art should be part of the everyday lives of Americans, that beauty cannot be the privilege of few, but the right of all citizens of democratic society.".
These words, though pathetic today, reflected the true convictions of an entrepreneur who believed in the social mission of business and the possibility of combining commercial success with cultural values. Sam Stefan Knapp, present at the ceremony with his wife, was clearly touched by the scale of the event and the reaction of the audience. In an interview with the "New York Times", given immediately after the ceremony, the artist said: "This is the greatest work of my life, but also the greatest challenge. I hope it will inspire people for the next generation and show that art can be both beautiful and useful, elite and popular".
The reactions of art critics were almost unanimously enthusiastic, which was rare in the world of American artistic criticism, known for its harsh assessments. Hilton Kramer from the New York Times, one of the most influential critics of that era, wrote: "Mural Knappa represents a new chapter in art-trade relations. It is public art at its best – available, beautiful and significant. The artist could create a work that functions both as an architectural decoration and as an autonomous work of art".
Similarly, he was positive Thomas Hess from "Art News" magazine, which emphasized technical innovation of the work and its importance for the development of American public art. The event also had a symbolic dimension in the context of the Cold War and cultural rivalry between the United States and the Soviet Union. Mural Knappa, created by a Polish immigrant who escaped communism, was presented as proof that America is a country that attracts and develops talents from all over the world.
Mortal Life: Three decades of glory, fall and salvation
Years of Glory (1967-1990): Popular culture icon
Over the next 30 years mural for a department store Alexander was one of the most recognizable public art works in America, becoming The icon of popular culture and a pilgrimage of art lovers from all over the world. In the 1970s and 1980s, tourist buses regularly stopped in front of the building in Paramus, and the guides told the story of the Polish artist and his monumental work. Mural appeared in films, advertisements, and tourist guides, becoming an unofficial symbol of American public art.
Knapp's work also happened subject of scientific studies – universities organized study tours, and art historians wrote dissertations of the importance of mural in the context of American public art. Andy Warhol, visiting the mural in 1975, he said: "This is what public art should be – bold, colorful and impossible to ignore". Mural also became an inspiration for subsequent realizations – in the 1970s and 1980s many shopping centers ordered similar works, and corporations began investing in public art as an element of image building.
Start of problems (1990-2000): Crisis and negligence
However, the 1990s brought first serious problems. Department store Alexander began to experience financial difficulties associated with increasing competition of shopping centres and changes in consumer behaviour, which translated into neglecting mural maintenance. Some panels began to show signs of corrosion, and colors lost intensity. The lack of resources for maintenance meant that the work, which for decades kept its original freshness, began to collapse.
W 1992 Alexander declared bankruptcy and the building was sold to new owners who showed no interest in maintaining the work of art. For many observers it was a symbolic end of an era in which public art was an integral part of commercial architecture. Mural, who for a quarter of a century was a symbol of the success of American capitalism and the democratisation of art, suddenly became a relic of the past, threatened by destruction.
Threat of destruction (2000-2010): Rescue campaign
In the beginning the 21st century The mural is in mortal danger. The new owners of the building planned to demolish it, which would mean the complete destruction of Knapp's work. It's started. rescue campaignwhich art historians, collectors and the local community are involved in. Barbara JakobsonGeorge Farkas' daughter, who inherited some of the panels, said: "I can't let my father and Stefan Knapp's work be destroyed. It's part of American cultural heritage".
The rescue campaign included petitions, protests and lobbying activities aimed at convincing local authorities to protect the mural. Art historians argued that Knapp's work matters not only artistic but also historical – as a testimony to an era in which public art was an integral part of the American cultural landscape. However, economic pressure proved stronger than cultural arguments, and in 2010 the decision to dismantle the mural was made.
Dismantling and saving (2010-2015): Rescue operation
W 2010 One of the most complicated rescue operations in American public art history began. Mural dismantling, coordinated by Bergen Museum and maintenance company Aegis Restauro LLClong-term six months and cost over $500,000. Each of the two hundred and eighty panels was individually dismantled, catalogued and transported to specially prepared warehouses.
The operation required the use of specialized equipment, including cranes with a load capacity exceeding 10 tonnes, and a team of engineers who had to develop methods to safely disconnect panels from the building's construction without damaging their emala surface. This process was documented by the film team, which resulted in a documentary "Conserving the Alexander’s Mural" of 2022, which shows complex logistics and emotional commitment of all participants in the operation.
Maintenance and restaurant (2015-present): Restoring the Light
From 2015 there is a process of preservation and restaurant mural, which is one of the most ambitious conservation projects in the history of American contemporary art. Bergen Museum in cooperation with Aegis Restauro LLC conducts meticulous work on restoring the original glow panels, using the latest conservation techniques, including laser cleaning, spectroscoping and 3D modeling.
Dr. Sarah Mitchell, the main conservationist of the project, explains: "Every panel requires an individual approach. Some require only delicate cleaning, others – a comprehensive restaurant. Our goal is to restore the mural to the condition of 1967, but using modern techniques that will ensure its sustainability for the next decades". The maintenance process includes the removal of corrosion, replacement of enamel defects, surface stabilization and nanocoat protection application, which will increase the resistance of panels to atmospheric conditions.
Impact on public art and artistic heritage
Mural for the department store Alexander made huge impact on the development of public art in America, becoming a model for subsequent realizations and showing that art can be both commercial and artistically valuable. Knapp's mural success inspired dozens of similar projects in shopping centres, corporations and airports around the world, starting a trend that was later formalized in the "Procent for Art" programs.
This work also contributed to changes in public art perception in America, showing that high-class art can be available to the masses, can be an integral part of commercial architecture and can be durable and resistant to atmospheric conditions. Mural Knappa proved that public art does not have to be elite or hermetic – it can also be popular and sophisticated, commercial and spiritual.
Stefan Knapp As a visionary artist, he believed that art should serve the public. In a 1970 interview, he said: "Artist has an obligation to create works that enrich the lives of ordinary people. Art locked in galleries serves only the elite". This philosophy translated into his approach to public art, characterized by accessibility, durability and integration into architecture.
Knapp was not only an artist, but also technical innovator, whose contribution to the development of painting techniques includes the development and patenting of the technique of enamel painting on steel, the development of techniques of applying multiple layers of enamel for color depth and the creation of formulas of enamels resistant to atmospheric conditions. These technical innovations influenced not only art, but also the ceramic and metallurgical industries.
Epilogue: A Dream That Became Real
Stefan Knapp died October 12, 1996, without seeing the full restaurant of his greatest work. However, his vision—the art available to all, durable and beautiful—is still alive. Mural for a department store Alexander is more than a work of art. This. Dream symbol, which can become a reality when an artistic vision meets with the courage of the patron and community commitment. This is a story of how one man, armed with a brush and an emala, could create a work that forever changed the landscape of American public art.
Today, as mural passes through the restaurant process, its history takes on a new meaning. In the age of digital art and virtual experiences, the physical presence of two hundred and eighty emal panels reminds us of The Material Strength of Art – that real works of art can survive decades, inspiring subsequent generations. The history of mural is also a universal story about emigration and adaptation. Stefan Knapp, a Polish pilot who became a British artist and created an American icon, shows how talent and determination can transcend national and cultural boundaries.
When in 2026 mural will be re-issued at the Bergen Museum, it will not only be a triumph of preservation, but also celebration of an artistic visionThat over half a century ago changed the face of American public art. It will also be a tribute to Stefan Knapp – a man who has proven that art can be both monumental and intimate, commercial and spiritual, local and universal.
History of the mural for the department store Alexander remains inspiration for contemporary artists and patrons, showing that true public art requires not only the artist's talent, but also the courage of the principal, community commitment and determination to protect cultural heritage. This is a story about how art can survive the collapse of the commercial empire, the economic crisis and the threat of destruction – if there are people willing to fight to save it.
References and sources
Historical sources
- Knapp, Stefan. "The Square Sun". London: Museum Press Limited, 1956.
- Bergen Museum. The mural archive for the Alexander department store. Maintenance Documentation 2015-2025.
- Aegis Restauro LLC. Conservation reports of Stefan Knapp's mural. 2015-2025.
- Hanover Gallery Archive. Exhibition catalogues Stefan Knapp 1954-1970.
Press sources
- Time Magazine. "Escape to Fame". 1954.
- New York Times. Obituary by Stefan Knapp. 20 October 1996.
- New York Times. "Stefan Knapp Mural in New Jersey is a Mammoth in Mothballs". May 3, 2015.
- NJ Monthly. "Iconic Alexander’s Mural Return to Paramus". 2023.
- Art in America. Speech by George Farkas from the opening ceremony. July 1967.
- Art News. Review by Thomas Hess. September 1967.
Audiovisual materials
- BBC. "Metal Painter" (metal Painter). A documentary, 1960.
- British Pathé. "Mural in Steel". Newsreel, October 26, 1961.
- Aegis Restauro LLC. "Conserving the Alexander’s Mural". Documentary, 2022.
- Television Poland. "Film from Stefan Knapp exhibition opening – 1921 2021". July 11, 2021.
Interviews
- Jakobson, Barbara. Interview with George Farkas' daughter. Bergen Museum, 2020.
- Mitchell, Sarah. Interview with the project's main conservationist. Aegis Restauro LLC, 2023.
Exhibition and Database Folders
- Sotheby’s. catalogue of auction "What Modern Is: The Collection of Mark McDonald". Flight 411, 2011.
- MutualArt. Stefan Knapp's auction results database. 1987-2025.
- Bergen Museum. https://bergenmuseum.org/stefan-knapp
The article was based on comprehensive archival studies, interviews with experts and analysis of source materials. All quotes were verified in the original sources.
Keywords: Stefan Knapp, mural, department store Alexander, public art, emma painting, Polish emigration, American art, preservation of works of art
Author: Paweł Sokołowski (sokolowski.in)
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