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The Coexist image created by Piotr Młodożeniec

The Coexist image (often styled as "CoeXisT" or "COEXIST") is an image created by Polish, Warsaw-based graphic designer Piotr Młodożeniec in 2000 as an entry in an international art competition sponsored by the Museum on the Seam for Dialogue, Understanding and Coexistence. The original version was one of dozens of works displayed as large outdoor posters in Jerusalem in 2001.[1][2][3] It is designed to represent tolerance between religions.

Variations of this artwork have been used as bumper stickers and elements in rock concerts.[1][4]

Creation – COEXISTENCE art exhibition

[edit]

Piotr Młodożeniec, a Polish graphic designer based in Warsaw, had his original work chosen by a jury to be one of several dozen images to be displayed as 3 m (9.8 ft) x 5 m (16 ft) outdoor posters as part of a touring exhibit sponsored by the Museum on the Seam in Jerusalem. The exhibit opened to the public in Jerusalem in 2001.[1][2]

His original image consisted of the word COEXIST in all capital letters, with the C replaced by an oversized Muslim Crescent, the X replaced by an oversized Star of David, and the T replaced by an oversized Latin Cross.[1][3][2]

U2 Vertigo Tour

[edit]
U2 in Mexico City on the Vertigo tour – photo taken during the playing of Sunday Bloody Sunday

During the international 2005–2006 Vertigo Tour of the Irish rock band U2, the original version of the image played a key role. Shortly after playing "Sometimes You Can't Make It on Your Own", the group would play politically-themed songs. During the opening portion of "Love and Peace or Else", Bono wore a white headband bearing a handwritten version of the word.[5] In some venues, including Mexico City, the word was displayed on large electronic signs.[1]

Bumper sticker

[edit]

The image and variations of it are used as automobile bumper stickers.[4]

The bumper stickers first began to emerge in the United States in the early 2000s in partial response to the military involvement in Iraq and Afghanistan which began after the events of September 11, 2001. The stickers signify the capability or desire of humans to live together in peace.[6]

One common version of the bumper sticker spells "COEXIST" using an Islamic crescent moon for the "C", a peace sign for the "O", the Hindu Om symbol for the "E”, a Star of David for the "X", a pentacle for the dot of the "I", a yin-yang symbol for the "S", and a Christian cross for the "T".[6] This version, designed by Jerry Jaspar, is perhaps the most common version of the bumper sticker. In a different variation, both the male and female symbols are combined with a lowercase “e”, in place of the Om symbol.[7] The lowercase "e" represents science - the "e" coming from e=mc².

The prevalence of the COEXIST bumper stickers has been noted in the Bay Area region centered on San Francisco. Users of the bumper stickers are often not practicing adherents of religion.[8] This has led to one academic, Mark Coppenger, of the Southern Baptist Theological Seminary to criticize the use of the symbol by atheists and to also question the ability of the bumper sticker to affect a wider audience.[9]

[edit]

In 2005, Młodożeniec and U2 were unaware of each other. They were also unaware that a company, COEXIST LLP[10] in Indiana already filed for a trademark in the United States in 2003. At the time, as there was no official U2 merchandise carrying this image, U2 fans created their own.

COEXIST LLP (now dissolved) [11] filed suit against companies like CafePress in May 2005 to stop sales of merchandise they had not authorized. Młodożeniec's attorneys maintained that he owned the copyright to the image, and according to The History Behind the COEXIST Logo("History"),[12] Młodożeniec repudiates COEXIST LLP as trying to steal his design to profit from lawsuits. Separately, The Museum on the Seam, which sponsored the competition in which the original image first appeared in public, claimed legal rights to the image.[1][3]

Recently the COEXIST Foundation has worked to hold the rights of the design. CEO Tarek Elgawhary saw the logo as an opportunity to promote the foundation. [13]

Versions and other variations

[edit]

The following table shows the individual characters of the more well-known versions, either as Unicode characters, icons, or descriptions.

C o e x i ı ̇ s t notes
☪ o e ✡ i - - s ✝[T 1] (original image)[2]
☪ ☮ e ✡ - ı ☯ s ✝[T 1] pbyrne on Flickr
☪ ☮ ⚥ ✡ - ı ⍟ ☯ ✝[T 1] [14]
  1. ^ a b c Unicode character or image is approximate
Other published variations
  • Translations, such as Coexista (at a U2 concert in Mexico City)
  • A more updated version of the bumper sticker exists where the "i" in the word is dotted with a talisman symbol known as a pentacle. This version appears in films due to this version's popularity, taking particular focus as the final camera shot at the end of the Honda Odyssey fight in the 2024 film Deadpool & Wolverine, where a bloody battle between the two titular heroes is humorously framed as an intimate same-sex love scene in the Odyssey's back that ends on a close-up of a prominent "Coexist" bumper sticker.

Parodies

[edit]

There are several parodies, spelling out words such as 'Toxic', 'Fiction', 'Contradict', 'Atheist', 'Heathen', 'Cointelpro', 'Costco', and 'Convert'. There is also an anti-Islamic version with the image of the crescent altered with the addition of explosives.[7]

Other parodies include a Communist hammer and sickle for the "E" and a swastika for the "X", indicating the dangers inherent in totalitarian ideologies,[15] and weapon-related versions.

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Coexist (image)

View on Grokipedia
from Grokipedia
The Coexist image is a typographic logo designed by Polish graphic artist Piotr Młodożeniec in 2000, featuring the word "COEXIST" where select letters are stylized as symbols representing Islam (crescent moon for "C"), Judaism (Star of David for "X"), and Christianity (cross for "T") to symbolize the potential for peaceful interfaith relations. The design originated as an entry in the "Coexistence" graphic design competition organized by the Museum on the Seam in Jerusalem, aimed at addressing tolerance amid the Israeli-Palestinian conflict. Subsequent adaptations of the image proliferated, particularly , where expanded versions incorporated additional symbols such as a for or in the "O" and a Darwin fish for or evolutionism in the "E," transforming it into a broader emblem of and often displayed on bumper stickers, apparel, and public signage. Its widespread adoption reflects a cultural push for superficial harmony among diverse beliefs, though the original intent focused narrowly on Abrahamic faiths. The symbol has sparked debates and legal disputes, including trademark battles among designers and commercializers over unauthorized variations and profit-sharing, highlighting tensions between artistic and mass-market . Critics, particularly from orthodox religious perspectives, contend that the image naively equates incompatible doctrinal claims—such as exclusive salvation narratives in —fostering rather than genuine coexistence, which empirical histories of religious conflict suggest is often untenable without compromise of core tenets. Despite these critiques, it remains a recognizable in discussions of tolerance, underscoring the gap between aspirational symbolism and the causal realities of ideological friction.

Origins and Initial Design

Creation for the COEXISTENCE Art Exhibition

The Coexist image originated as an artistic submission by Polish graphic designer Piotr Młodożeniec, who entered an international competition organized by the Museum on the Seam in . This Warsaw-based artist created the design in 2000 specifically for the museum's "Coexistence" exhibition, which sought visual expressions promoting tolerance in a region marked by ongoing Israeli-Palestinian conflict. The Museum on the Seam, situated along the historic armistice line dividing East and , hosted the exhibition to foster dialogue on amid sectarian tensions. Młodożeniec's entry was selected and debuted as part of this non-commercial showcase of large-scale posters addressing interfaith harmony. The initiative reflected the museum's broader mission to use for socio-political commentary on division and reconciliation in . In its initial form, the design stylized the word "COEXIST" using symbols exclusively from the : the crescent moon and star for forming the "C," the for as the "X," and the for the "T." The remaining letters—"O," "E," "I," and "S"—employed simpler geometric forms without additional religious , limiting the scope to these three faiths central to Middle Eastern dynamics. This focused representation underscored the exhibition's emphasis on tolerance among , , and , without intent for broader commercialization or expansion at the time.

Popularization and Commercialization

Adoption by U2 in the Vertigo Tour

incorporated the Coexist image into the stage visuals and merchandise of their , which ran from March 28, 2005, to December 9, 2006, in support of the album How to Dismantle an Atomic Bomb. The symbol appeared on video screens during performances, including segments tied to songs addressing conflict and unity, such as "," where referenced coexistence themes amid global strife. This integration occurred independently, without involvement from the image's creator, Piotr Młodożeniec, as evidenced by the designer's later statements declining legal action against the band for its use. The tour comprised 131 shows across five legs, drawing 4,615,035 attendees and grossing $389 million, making it one of the highest-grossing concert tours of its era. This massive exposure, reaching audiences in stadiums worldwide, transformed the niche artistic symbol into a broader of interfaith and rock-infused , particularly resonant in the post-September 11, 2001, era of geopolitical tensions. Media coverage of the band's peace-oriented messaging further propelled the image's recognition beyond art circles. U2's adoption amplified the symbol's association with calls for tolerance amid ongoing conflicts, yet it also inadvertently highlighted emerging issues, as the band's high-profile deployment predated widespread awareness of prior filings. The lack of direct creator collaboration underscored the image's organic viral spread, shifting it from gallery entry to global icon through cultural channels rather than formal licensing.

Development as a Bumper Sticker

The Coexist image transitioned into a bumper sticker format through decentralized production by independent sellers in the United States during the early 2000s, driven by commercial opportunities amid post-September 11, 2001, concerns over religious conflict and terrorism. Various entities, including Coexist LLP—formed by Indiana University graduates who trademarked a variant in 2003—began marketing adhesive versions as emblems of interfaith harmony, without a centralized authority overseeing distribution or design fidelity. This proliferation reflected profit motives over the original 2000 artistic contest entry, as producers adapted the design for mass vinyl printing and vehicle application, often pricing stickers at low costs to encourage widespread adoption. By the mid-2000s, the sticker's visibility surged on automobiles, evolving from niche merchandise to a standalone cultural marker, with multiple vendors like the Coexist Foundation licensing and selling versions to fund charitable initiatives, while unauthorized copies further diluted control. No verifiable aggregate sales data exists, but anecdotal reports and vendor listings indicate substantial output, as companies capitalized on demand for tolerance signaling without enforcing the designer's intent for contextual artistic use. The absence of exclusive ownership enabled this fragmentation, prioritizing market accessibility over purity, resulting in ubiquitous placement on vehicles often linked to progressive demographics.

Symbolism and Core Message

Component Symbols and Their Representations

The standard iteration of the Coexist image replaces each letter of the word with a graphic symbol drawn from religious, philosophical, or ideological traditions.
  • C: A crescent moon enclosing a five-pointed star, symbols commonly linked to Islam; the crescent predates Islam as a lunar motif in ancient Near Eastern cultures, gaining prominence under the Ottoman Empire (14th–20th centuries) as an imperial emblem before widespread Islamic adoption, though it holds no basis in core Islamic scriptures and has been co-opted in flags and iconography of jihadist organizations such as ISIS.
  • O: The peace symbol, a circle bisected by a vertical line from which two diagonals descend at 45-degree angles; designed in 1958 by Gerald Holtom for the British Campaign for Nuclear Disarmament, deriving from semaphore flags signaling "N" and "D" for nuclear disarmament.
  • E: Interlocked male (circle with upward arrow, denoting Mars) and female (circle with downward cross, denoting Venus) symbols from alchemical and astronomical traditions (17th century onward), here configured to signify gender equality.
  • X: The Star of David (Magen David), a hexagram formed by two overlapping equilateral triangles; emerged in Jewish mysticism by the 12th century and solidified as a national emblem in the 19th-century Zionist movement.
  • I: A pentacle, consisting of a five-pointed star (pentagram) inscribed within a circle; in Wiccan and neopagan contexts since the 20th-century revival of such practices, it represents the five elements (earth, air, fire, water, spirit) and protection.
  • S: The yin-yang (taijitu), a circle divided into black-and-white teardrop shapes with embedded dots; originating in ancient Chinese cosmology (circa 3rd century BCE) and central to Taoism, symbolizing dualistic balance of opposites.
  • T: The Latin cross (†), with a longer vertical arm; adopted by early Christians (2nd–4th centuries CE) to evoke Jesus's crucifixion circa 30–33 CE, becoming the preeminent Christian emblem by the 5th century.
These elements aggregate icons from Abrahamic faiths, Eastern dualism, , modern secular , and planetary , reflecting disparate origins without shared scriptural or philosophical foundations.

Intended Promotion of Interfaith Tolerance

The Coexist image was designed by Polish graphic artist Piotr Młodożeniec in 2000 as an entry for an international competition hosted by the Museum on the Seam in , explicitly themed around "coexistence" to advocate for tolerance among conflicting religious and cultural identities. The museum, situated along the historic divide between East and West , positions its exhibitions to encourage socio-political and mutual understanding in areas of entrenched conflict, with the Coexistence serving as a visual call for harmonious living despite irreconcilable doctrinal variances. Młodożeniec's intent focused on crafting a simple, universal emblem that underscores the necessity of over conversion or dominance, reflecting an optimistic vision for in pluralistic settings amid ongoing regional tensions. Exhibition organizers promoted the work within a touring collection of posters aimed at fostering respect across Abrahamic faiths and beyond, positioning symbolic representation as a foundational step toward reducing religiously fueled antagonism through acknowledgment of shared humanity rather than empirical conflict metrics. In line with post-Cold War era sentiments favoring global harmony, the design's aspirational narrative emphasizes non-violent accommodation of differences, often aligned in promotional contexts with broader anti-war appeals and multicultural ideals that prioritize coexistence as a . This framing, drawn from the museum's mission statements and designer's reflections, highlights as the primary mechanism for tolerance, detached from deeper causal analyses of historical religious frictions.

Variations and Evolutions

Expanded Symbol Sets

The original Coexist design, created by Polish graphic designer Piotr Młodożeniec in 2000 for an exhibition at the Museum on the Seam in , incorporated symbols exclusively representing the : a for in the "C," a integrated into the "X," and a forming the "E." Early commercial reproductions as bumper stickers in the United States, beginning around 2001, retained this limited Abrahamic focus but soon diverged through unauthorized modifications. Post-exhibition variants progressively added non-Abrahamic symbols to appeal to broader market demands for inclusivity, starting with a for the "O" to denote or and a dotted "I" explicitly referencing Wiccan . These changes lacked Młodożeniec's endorsement, as he later expressed dissatisfaction with alterations that compromised the design's aesthetic and original intent. Sticker producers, such as those associated with Peacemonger, introduced these elements independently, resulting in inconsistencies between versions and graphics adapted for contexts like U2's , which sometimes reverted to simpler sets. By the mid-2000s, expanded sets had incorporated secular and additional non-Abrahamic icons, including a peace sign for the "T" and or Darwin fish motifs for the "E," shifting from the 2000 prototype's monotheistic emphasis to a syncretic array encompassing pagan, Taoist (via yin-yang variants), and atheistic representations. This evolution reflected commercial pressures rather than artistic evolution, diluting the core interfaith tolerance message tied to Abrahamic coexistence amid Israeli-Palestinian tensions.

Adaptations in Media and Merchandise

The Coexist symbol has been incorporated into various apparel items, including organic fair-trade T-shirts and other organic manufactured in , sold by organizations such as the Coexist Campaign to support interfaith initiatives. These products emerged following the resolution of disputes, allowing nonprofits to license and distribute them commercially while directing proceeds toward tolerance-promoting efforts, such as funding schools in that enroll students irrespective of religious background. By 2005, student-led sales of Coexist T-shirts at exemplified early commercial adaptations, priced at over $50 each to capitalize on growing cultural popularity. Beyond apparel, the symbol appeared on branded consumer goods like sourced from cooperatives in conflict-affected regions, such as Uganda's Peace Kawomera group involving 2,500 farmers, with sales proceeds reinvested into social cohesion projects globally. These merchandise lines, often marketed under "swag" categories by entities like the Coexist Foundation, extended the symbol's reach into everyday branding, tying purchases to verifiable charitable outcomes reported by the organizations. In media contexts, the symbol gained visibility through casual references, such as actor mentioning Coexist-branded products during an episode of the television series . This integration highlighted its permeation into popular entertainment, aligning with broader thematic promotions of unity, though without formal . By the mid-2000s, such adaptations contributed to the symbol's ubiquity in liberal-leaning consumer culture, shifting from its niche artistic origins to widespread commercial products emphasizing interfaith messaging.

Trademark Claims by COEXIST LLP

In 2003, COEXIST LLP, a based in , and founded by four graduates of , incorporated with aspirations to commercialize variations of the Coexist design for apparel and merchandise. The firm filed a U.S. trademark application for a stylized "COEXIST" mark incorporating religious and symbolic elements on April 4, 2005, classifying it initially for clothing lines under International Class 25. This registration occurred just prior to the design's surge in visibility through U2's , which began in March 2005 and prominently featured the image in concert visuals, yet COEXIST LLP asserted exclusive rights over uses resembling their mark without regard to the design's earlier public dissemination from Polish artist Piotr Młodożeniec's 2000 contest entry. By May 2005, as fan-made and commercial Coexist stickers proliferated—often tied to U2's tour—COEXIST LLP initiated trademark infringement lawsuits against online vendors selling unauthorized merchandise, including those offering bumper stickers and apparel. A key case, COEXIST, LLP v. CafePress.com, Inc., filed in the U.S. District Court for the Southern District of Indiana (Case No. 1:05-cv-00673), alleged infringement, unfair competition under the Lanham Act, and dilution against platforms hosting user-generated Coexist products, seeking injunctions and damages for uses that allegedly confused consumers or diluted the mark's distinctiveness. The claims extended to entities producing or distributing stickers and related items, disregarding the organic, non-commercial origins of Młodożeniec's uncopyrighted prototype and aiming to monopolize commercial exploitation across media. Neither the original designer, Piotr Młodożeniec, nor —whose tour inadvertently amplified the symbol's spread—were initially involved in or notified of these assertions, underscoring a disconnect between the image's creators and the LLP's profit-oriented enforcement strategy. COEXIST LLP pursued multiple such actions through the mid-2000s, prioritizing assertions over the symbol's symbolic intent, with filings emphasizing broad control despite the design's pre-existing public domain-like availability from international exhibits.

Resolutions and Ongoing Implications

Following the aggressive trademark enforcement by COEXIST LLP in the mid-2000s, which included lawsuits against merchandise sellers and led to public backlash, the disputes subsided after settlements that transferred rights to new owners focused on charitable applications rather than pure commercial gain. The Coexist Foundation, a non-profit promoting , acquired control of the around 2010, redirecting licensing revenues toward tolerance initiatives while retaining authority to police unauthorized uses. The original designer, Piotr Młodożeniec, and secured formal acknowledgments, including design credits on tour-related products and media releases, which helped affirm the symbol's artistic origins amid the commercial turmoil. Post-resolution, litigation sharply declined, with U.S. Patent and Trademark Office records and public reports showing minimal new enforcement actions after 2010, as the Foundation prioritized aligned partnerships over broad suppression. These outcomes have imposed lasting constraints on free adaptation, as protections deter unauthorized variations and reproductions, privileging a unified, advocate-curated interpretation over organic, decentralized dissemination. In the , activity remains subdued, with scant filings or disputes, signaling reduced cultural urgency and enforcement vigor consistent with the symbol's faded visibility in .

Reception and Cultural Impact

Affirmative Views and Symbolic Achievements

Proponents of the Coexist image argue that its widespread visibility has contributed to heightened awareness of interfaith tolerance, particularly in the years following the , 2001 terrorist attacks, when public discourse on religious coexistence intensified amid global tensions. The symbol's simple integration of religious icons into the word "COEXIST" is credited by supporters with serving as a visual shorthand for peaceful pluralism, appearing on millions of bumper stickers, apparel, and merchandise that coincided with a surge in peace activism during the mid-2000s. However, while sales of Coexist-themed products proliferated through outlets like Peace Resource Project and Peacemonger, no direct empirical metrics link these distributions to quantifiable gains in societal tolerance. A key symbolic achievement came from its adoption by the rock band , who incorporated the image as a central stage element during their 2005-2006 , which spanned over 200 shows and reached approximately 4.6 million attendees worldwide. This high-profile endorsement amplified the symbol's message of harmony to a broad audience, with and the band using it to underscore themes of unity in their performances and merchandise, including DVD releases. Advocates point to this exposure as fostering in diverse settings, though causal attribution to reduced intergroup animosities lacks supporting data from independent studies. The Coexist Foundation, drawing inspiration from the symbol, established the annual Coexist Prize in , awarding $100,000 to individuals advancing interfaith relations, such as finalists recognized for efforts in religious . These grants have supported unsung initiatives in and , with proponents viewing the as a tangible extension of the image's ethos into actionable . Despite such programs, evaluations of their impact on measurable outcomes like event attendance or attitudinal shifts remain anecdotal, with no peer-reviewed evidence demonstrating sustained reductions in hate incidents directly tied to the symbol's influence.

Criticisms from Realistic and Conservative Perspectives

Critics from conservative and realistic viewpoints argue that the Coexist symbol promotes a naive by equating religions with fundamentally incompatible truth claims, such as Christianity's doctrine that is exclusively through Christ, as stated in John 14:6: "I am the way, and the truth, and the life. No one comes to the Father except through me." This exclusivity contradicts the symbol's implication of interchangeable beliefs, ignoring doctrinal imperatives that demand rejection of rival faiths rather than mere tolerance. Similarly, Islam's historical and scriptural assertions of supremacy, including Quranic calls for dominance over non-believers (e.g., 9:29), render harmonious equivalence implausible without subordination of one faith to another. The overlooks of assimilation failures in multicultural settings, such as the of parallel societies in where high concentrations of Muslim immigrants have led to areas with elevated , sharia-influenced norms, and restricted access for authorities—estimated at around 900 such zones across the continent by 2024. These "no-go" or sensitive urban zones, documented in cities like suburbs and , demonstrate causal links between unintegrated ideologies and social fragmentation, challenging the symbol's optimistic premise of effortless coexistence without cultural dominance or reform. Post-9/11 persistence of jihadist violence, including the use of Islamic symbols in attacks by groups like , further highlights how the crescent moon emblem—featured in the Coexist "C"—is co-opted by supremacist actors, undermining claims of universal symbolism. From a virtue-signaling perspective, the often serves as performative tolerance that demands while exhibiting intolerance toward exclusive truth assertions, particularly those rooted in traditions. Conservative analysts note its promotion amid rising global religious hostilities, with Pew Research data showing government restrictions on peaking in 2021 and social hostilities involving violence or harassment in 139 countries that year, including ongoing persecutions of in Muslim-majority nations. This persistence questions the symbol's viability, as causal realism suggests stable coexistence requires hierarchical resolution of conflicts rather than symbolic denial, evidenced by historical patterns where dominant faiths impose terms on minorities rather than achieving parity.

Observed Decline and Shifting Public Sentiment

Since the , cultural observers have noted a marked reduction in the visibility of Coexist stickers on and in public spaces, with earnest displays giving way to irony or absence altogether. A analysis of evolving bumper sticker trends highlighted that symbols like Coexist, once ubiquitous as markers of progressive virtue-signaling, have largely faded from prominent use, replaced by more absurd or meme-driven expressions reflecting public exhaustion with overt idealism. This anecdotal decline aligns with commentary from 2021 onward attributing diminished sightings to a backlash against the sticker's perceived naivety, particularly in light of persistent religious and ideological conflicts that challenge unconditional tolerance. High-profile Islamist terrorist incidents have amplified critiques of the symbol's optimism, exposing practical limits to coexistence when one ideology demands supremacy over others. For instance, the bombing suspects' hijacked SUV displayed a , prompting widespread online derision that underscored the irony of promoting harmony with groups espousing jihadist intolerance. Similarly, the January 2015 massacre in , where Islamist gunmen killed 12 for satirical , crystallized for many the causal disconnect between aspirational pluralism and the rejection of free expression by certain faiths, eroding faith in the sticker's simplistic message. Conservative commentators, gaining broader traction amid rising skepticism toward , have argued that such events reveal the symbol's failure to grapple with incompatible doctrines, contributing to its cultural retreat. Public sentiment has shifted toward alternatives emphasizing individual ethics over collective harmony, such as "Practice " variants using interfaith symbols, observed increasingly on campuses and merchandise since around 2018 as a response to fatigue. This evolution reflects a preference for realism—acknowledging human differences and conflict drivers—over unchecked , with amplifying mockery of Coexist as outdated virtue-signaling rather than pragmatic guidance. While no comprehensive sales data tracks the sticker's market fade, the correlative drop in organic endorsements parallels broader disillusionment with post-9/11 tolerance narratives tested by ongoing .

Parodies and Critical Satire

Numerous parodies of the Coexist image have emerged, often replacing religious and ideological symbols with alternatives to spell words critiquing tolerance or multiculturalism, such as "Toxic" using hazard or poison icons alongside faith symbols to imply "toxic religion." Another variant spells "Contradict," incorporating Christian, Islamic, and other symbols to argue that core doctrines of represented faiths inherently conflict, as exemplified by stickers subtitled "They can't all be true" referencing John 14:6. Atheist-oriented satires include the "Eat A Dick" design, which repurposes Coexist-style symbols to form a profane phrase mocking religious coexistence as insincere or impossible. Satanic parodies, like "COEXIST But Evil," substitute inverted crosses or pentagrams for select letters, satirizing the symbol's inclusivity by emphasizing elements. Conservative critiques manifest in stickers such as "COEXIST WITH SUICIDE BOMBERS? NO THANK YOU," highlighting perceived asymmetries in tolerance toward groups advocating . These parodies, widely available on merchandise platforms since at least 2013, underscore toward the original's optimism, often portraying it as naive amid of interfaith conflicts, such as ongoing in regions with diverse religious populations.

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  41. https://gospelchurchbayfield.com/2019/10/09/why-the-coexist-ideal-is-so-illogical-and-offensive/
  42. https://merip.org/2001/12/islam-and-the-theology-of-power/
  43. https://www.meforum.org/mef-online/europe-is-turning-into-one-big-no-go-zone
  44. https://www.vice.com/en/article/residents-of-europes-no-go-areas-talk-about-life-in-the-danger-zone/
  45. https://rlmartinwrites.com/2020/08/24/why-conservatives-hate-this-bumper-sticker/
  46. https://www.chicagotribune.com/2021/02/11/column-o-say-can-you-see-that-virtue-signaling-shouldnt-be-an-insult/
  47. https://www.pewresearch.org/religion/2024/03/05/globally-government-restrictions-on-religion-reached-peak-levels-in-2021-while-social-hostilities-went-down/
  48. https://corechristianity.com/resources/articles/christians-should-never-compromise-just-to-coexist
  49. https://www.nytimes.com/2024/12/23/style/bumper-stickers-viral-memes.html
  50. https://outofthewilderness.me/2021/08/14/whatever-happened-to-those-coexist-bumper-stickers/
  51. https://www.vice.com/en/article/coexist-bumper-stickers-are-really-intolerant/
  52. https://www.bbc.com/news/world-europe-30708237
  53. https://www.heritage.org/terrorism/commentary/charlie-hebdo-attack-shows-west-what-rising-threat-islamist-terrorists-pose
  54. https://peacemonger.org/S067MAG-Practice-Compassion-Interfaith-Symbol-Magnet-Magnetic-Bumper-Sticker_p_4580.html
  55. https://www.reddit.com/r/changemyview/comments/f3isp9/cmv_the_coexist_sticker_is_symbolically_superior/
  56. https://robcollinet.threadless.com/designs/toxic/home/fine-art-print
  57. https://feminismandreligion.com/2017/03/21/coexist-or-contradict-how-about-resist-instead-by-katey-zeh/
  58. https://www.amazon.com/ORIGINAL-Eat-Dick-Atheist-Removable/dp/B01AVQNTE6
  59. https://www.etsy.com/market/coexist_parody
  60. https://www.cafepress.com/%2Bconservative-coexist%2Bbumper-stickers
  61. https://www.zazzle.com/get_along_coexist_parody_sticker_bumper_sticker-128666284367835072
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