Problem: Abebe Bikila (Amharic: 'ababa biqilaa; August 7, 1932 - October 25, 1973) was an Ethiopian double Olympic marathon champion. He won the marathon at the 1960 Summer Olympics in Rome while running barefoot, setting a world record. At the 1964 Summer Olympics in Tokyo, Abebe was the first athlete to successfully defend an Olympic marathon title, breaking his own world record in the process.

Abebe returned to his homeland a hero. He was greeted by a large crowd, many dignitaries and the commander of the Imperial Guard, Brigadier-General Mengistu Neway. Abebe was paraded through the streets of Addis Ababa along a procession route lined with thousands of people and presented to Emperor Haile Selassie. The emperor awarded him the Star of Ethiopia and promoted him to the rank of asiraleqa (corporal). He was given the use of a chauffeur-driven Volkswagen Beetle (since he did not yet know how to drive) and a home, both owned by the Guard.  On December 13, 1960, while Haile Selassie was on a state visit to Brazil, Imperial Guard forces led by Mengistu began an unsuccessful coup and briefly proclaimed Selassie's eldest son Asfaw Wossen Taffari emperor. Fighting took place in the heart of Addis Ababa, shells detonated in the Jubilee Palace, and many of those closest to the emperor were killed. Although Abebe was not directly involved, he was briefly arrested and questioned. Mengistu was later hanged, and his forces (which included many members of the Imperial Guard) were killed in the fighting, arrested or fled.  In the 1961 Athens Classical Marathon, Abebe again won while running barefoot. This was the second and last event in which he competed barefooted. The same year he won the marathons in Osaka and Kosice. While in Japan, he was approached by a Japanese shoe company, Onitsuka Tiger, with the possibility of wearing its shoes; they were informed by Niskanen that Abebe had "other commitments." Kihachiro Onitsuka suspected that Abebe had a secret sponsorship deal with Puma, in spite of the now-abandoned rules against such deals.  Abebe ran the 1963 Boston Marathon, finishing fifth in 2:24:43, the only time in his competitive career that he completed an international marathon without winning. He and countryman Mamo Wolde, who finished 12th, had run together on record pace for 18 miles, until cold winds and the hills in Newton caused both to fall back. The race was won by Belgium's Aurele Vandendriessche in a course record 2:18:58. Abebe returned to Ethiopia and did not compete in another marathon until 1964 in Addis Ababa. Abebe won that race in a time of 2:23:14.8.

What happened after he returned home?

Answer with quotes: He was greeted by a large crowd, many dignitaries and the commander of the Imperial Guard, Brigadier-General Mengistu Neway.

Question:
Pieter Cornelis "Piet" Mondriaan, after 1906 Mondrian (; Dutch: ['pit 'mondrija:n], later ['mondrijan]; 7 March 1872 - 1 February 1944), was a Dutch painter and theoretician who is regarded as one of the greatest artists of the 20th century. He is known for being one of the pioneers of 20th century abstract art, as he changed his artistic direction from figurative painting to an increasingly abstract style, until he reached a point where his artistic vocabulary was reduced to simple geometric elements. Mondrian's art was highly utopian and was concerned with a search for universal values and aesthetics. He proclaimed in 1914: Art is higher than reality and has no direct relation to reality.
When the 47-year-old Piet Mondrian left the Netherlands for unfettered Paris for the second and last time in 1919, he set about at once to make his studio a nurturing environment for paintings he had in mind that would increasingly express the principles of neoplasticism about which he had been writing for two years. To hide the studio's structural flaws quickly and inexpensively, he tacked up large rectangular placards, each in a single color or neutral hue. Smaller colored paper squares and rectangles, composed together, accented the walls. Then came an intense period of painting. Again he addressed the walls, repositioning the colored cutouts, adding to their number, altering the dynamics of color and space, producing new tensions and equilibrium. Before long, he had established a creative schedule in which a period of painting took turns with a period of experimentally regrouping the smaller papers on the walls, a process that directly fed the next period of painting. It was a pattern he followed for the rest of his life, through wartime moves from Paris to London's Hampstead in 1938 and 1940, across the Atlantic to Manhattan.  At the age of 71 in the fall of 1943, Mondrian moved into his second and final Manhattan studio at 15 East 59th Street, and set about to recreate the environment he had learned over the years was most congenial to his modest way of life and most stimulating to his art. He painted the high walls the same off-white he used on his easel and on the seats, tables and storage cases he designed and fashioned meticulously from discarded orange and apple-crates. He glossed the top of a white metal stool in the same brilliant primary red he applied to the cardboard sheath he made for the radio-phonograph that spilled forth his beloved jazz from well-traveled records. Visitors to this last studio seldom saw more than one or two new canvases, but found, often to their astonishment, that eight large compositions of colored bits of paper he had tacked and re-tacked to the walls in ever-changing relationships constituted together an environment that, paradoxically and simultaneously, was both kinetic and serene, stimulating and restful. It was the best space, Mondrian said, that he had inhabited. He was there for only a few months, as he died in February 1944.  After his death, Mondrian's friend and sponsor in Manhattan, artist Harry Holtzman, and another painter friend, Fritz Glarner, carefully documented the studio on film and in still photographs before opening it to the public for a six-week exhibition. Before dismantling the studio, Holtzman (who was also Mondrian's heir) traced the wall compositions precisely, prepared exact portable facsimiles of the space each had occupied, and affixed to each the original surviving cut-out components. These portable Mondrian compositions have become known as "The Wall Works". Since Mondrian's death, they have been exhibited twice at Manhattan's Museum of Modern Art (1983 and 1995-96), once in SoHo at the Carpenter + Hochman Gallery (1984), once each at the Galerie Tokoro in Tokyo, Japan (1993), the XXII Biennial of Sao Paulo (1994), the University of Michigan (1995), and - the first time shown in Europe - at the Akademie der Kunste (Academy of The Arts), in Berlin (22 February - 22 April 2007).
Answer this question using a quote from the text above:

Were their exhibits in other cities?

Answer:
), once in SoHo at the Carpenter + Hochman Gallery (1984), once each at the Galerie Tokoro in Tokyo, Japan (1993),