Read the passage carefully and answer the question. Our collective ignorance about pottery was phenomenal. We had not even heard of Bernard Leach. We had no books on pottery except some on ancient Chinese pottery but nothing that provided any practical help. With the help of a science student, I managed to find some books on industrial chemistry that had a chapter on ceramic chemistry. It was from that book that I made the great discovery that some metal oxides were the colourants in pottery. We had some white-firing stoneware clay that Punabhai got from Than in Saurashtra. Fired in our little kiln—especially without any fluxing agent, the pots were sadly unfired—but precisely because of that, the burnishing remained (it does not, at stoneware temperatures). The pots looked quite nice with a sort of ivory finish. Every new step was at the time a matter of jubilation that was shared by many, even outside our little department. I got a small quantity of oxides from a very sympathetic chemistry professor and mixed it with clay and water and invited people to paint, many joined the fun. Punabhai kept on warning us that dyes disappear in firing—we assured him that these would not, but he kept smirking behind his considerable moustaches. He anyway thought we were all crazy—and to our great joy the decoration in chalky hues stayed! It was only in 1979 that I had my first solo exhibition, but have been exhibiting more or less regularly. I never tire of pushing the cause of studio pottery in India. I never miss an opportunity of doing so. I try my best to dispel the impression that potters mint money—they do not. Some people complain about prices. I think we are getting underpaid. This happens because studio pottery has not got its legitimate place in our art scene. It is often dismissed as something inferior, because pots can be used. Even a very indifferent piece of ceramic sculpture fetches a better price than a really good pot. Question: Which of the following is NOT mentioned in the passage?

1. The author's early pottery was fired in a little kiln.
2. The author’s first solo exhibition was held in New Delhi.
3. The author initially lacked resources and knowledge about pottery.
4. The author believes studio potters are often underpaid for their work.