Problem: Womack was born and raised in Jacksonville, Texas. At an early age, she was interested in country music. Her father, a disc jockey, often took his daughter to work with him to help choose records to play on the air. Womack was the second of two daughters.

She released her third studio album in 2000 entitled, I Hope You Dance, which was met with major success. The title track (which was released as the lead single), reached No. 1 on the Billboard Country chart for five weeks and crossed over to the Billboard Hot 100, becoming a major crossover Pop hit, reaching No. 14. It also peaked at the top spot on the adult contemporary chart and even reached the UK Singles Charts, peaking at No. 40. Both of Womack's daughters appeared in the song's video that year. Towards the end of 2000, "I Hope You Dance" won the Country Music Association's "Song of the Year" and "Single of the Year" awards. With the Pop success of "I Hope You Dance," Womack drew the attention of the magazines People and Time, both of which praised the single, calling it "one of her best." The song later won awards in 2001 from the Grammy and Academy of Country music awards. The album of the same name has sold 3 million copies in the United States to date. The album's follow-up single, a cover of Rodney Crowell's "Ashes by Now" peaked at No. 4 on the Billboard Country Chart. The third single, "Why They Call it Falling" was also successful, reaching the country Top 15.  On December 11, 2000, Womack performed "I Hope You Dance" at the annual Nobel Peace Prize concert. This song was also featured in the 2008 Tyler Perry film entitled "The Family that Preys."  In 2002, Womack's fourth studio album, Something Worth Leaving Behind was released. The album made a stronger attempt at a pop-flavored style, however it did not react well, leading to poor record sales and only one major hit. Following its release, Womack's career stalled. Later that year, she released a Christmas album, The Season for Romance and also collaborated with Willie Nelson on his single, "Mendocino County Line," which won a Grammy and Country Music award in 2002. In early 2003, she got a small recurring role on the popular CBS drama, The District.  In 2004, Womack performed "I Hope You Dance" at the Republican National Convention, in which George W. Bush was nominated for his second term as President of the United States. The other performers that night included Sara Evans and Larry Gatlin. She also collaborated with Red Dirt Music band Cross Canadian Ragweed on their hit "Sick and Tired" in 2004. Also that year, she also released her first Greatest Hits album, which included two new songs; "The Wrong Girl" (the only song from the album released as a single) and "Time for Me to Go."

how did the fourth studio album do?

Answer with quotes: however it did not react well, leading to poor record sales and only one major hit.

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:

Which of the painting in the wall works was the most famous  paint ?

Answer:
the first time shown in Europe - at the Akademie der Kunste (Academy of The Arts), in Berlin (22 February - 22 April 2007).