Question: Where did Wood enter American Gothic in a competition?
About the article "American Gothic", section "Reception".

Candidate passages:
"American Gothic" is a painting by Grant Wood from 1930.
Wood's inspiration came from a cottage designed in the Carpenter Gothic style with a distinctive upper window and a decision to paint the house along with "the kind of people I fancied should live in that house."
Carpenter Gothic houses and small churches became common in North America in the late nineteenth century.
These structures adapted Gothic elements such as pointed arches, steep gables, and towers to traditional American light-frame construction.
The invention of the scroll saw and mass-produced wood moldings allowed a few of these structures to mimic the florid fenestration of the High Gothic.
But in most cases, Carpenter Gothic buildings were relatively unadorned, retaining only the basic elements of pointed-arch windows and steep gables.
Probably the best known example of Carpenter Gothic is the house in Eldon, Iowa, that Grant Wood used for the background of his famous painting American Gothic. 
A National Olympic Committee may enter one men's team for the field hockey competition.
Mexico, the host nation along with seven other countries qualified through regional competitions.
Cuba played a three match series against the men's country that would have qualified as the eighth country (Brazil, who finished in the third qualifying position from the 2009 Pan American Cup), as Cuba did not enter the Central American and Caribbean Games.  
In August 1930, Grant Wood, an American painter with European training, was driven around Eldon, Iowa by a young painter from Eldon, John Sharp, looking for inspiration.
Wood noticed the Dibble House, a small white house built in the Carpenter Gothic architectural style.
Sharp's brother suggested in 1973 that it was on this drive that Wood first sketched the house on the back of an envelope.
Wood's earliest biographer, Darrell Garwood, noted that Wood "thought it a form of borrowed pretentiousness, a structural absurdity, to put a Gothic-style window in such a flimsy frame house."
At the time, Wood classified it as one of the "cardboardy frame houses on Iowa farms" and considered it "very paintable".
After obtaining permission from the Jones family, the house's owners, Wood made a sketch the next day in oil on paperboard from the house's front yard.
This sketch displayed a steeper roof and a longer window with a more pronounced ogive than on the actual house, features which eventually adorned the final work.
Wood decided to paint the house along with "the kind of people I fancied should live in that house."
He recruited his sister Nan (1899–1990) to model the woman, dressing her in a colonial print apron mimicking 19th-century Americana.
The man is modeled on Wood's dentist, Dr. Byron McKeeby (1867–1950) from Cedar Rapids, Iowa.
The three-pronged hay fork is echoed in the stitching of the man's overalls, the Gothic window of the house, and the structure of the man's face.
However, Wood did not add figures to his sketch until he returned to his studio in Cedar Rapids.
He would not return to Eldon again before his death in 1942, although he did request a photograph of the home to complete his painting. 
The United States Post Office and Courthouse is located in the heart of the business district in downtown Dubuque, Iowa, and fronts Washington Park.
Construction commenced in 1932 and was completed in 1934.
The building, which was designed in the Art Deco style, displays the strong rectilinear qualities that influenced Modern architecture in the 1940s, 50s, and 60s.
The building has a form that is similar to public architecture of earlier periods, but most of the elaborate ornamentation found on buildings from previous eras was omitted.
The result is clean and restrained, yet still monumental.
Many civic buildings constructed during the Great Depression display this reserved quality.
The building consists of a centrally placed, projecting, four-story tower flanked by three-story wings.
The tower was originally designed to accommodate an observation room for the local weather bureau.
The exterior is clad in cream-colored Bedford limestone cut into ashlar (squared and smooth) blocks.
Decorative details that are consistent with typical Art Deco ornamentation are found on the building.
These include stylized flowers, swags, dentils (rectangular blocks), and chevron (V-shaped) elements.
The corners of the tower are chamfered with a 45-degree bevel cut and contain stylized eagle motifs that express the Federal government's presence in Dubuque.
The tall, vertical windows are evenly spaced and have bronze mullions, which are common on Art Deco architecture.
The windows are separated by fluted pilasters (attached columns) that add to the classical appeal of the building's design.
The interior features several important murals in the lobby vestibule.
The murals were funded with $2,000 of the original money allotted for construction of the building.
Although a competition to select an artist was held, officials intended to select Grant Wood, the famous Iowa painter of "American Gothic," to complete the murals.
When Wood did not enter the competition, William E. L. Bunn was selected.
The selection was subsequently overturned in favor of a painter named Bertrand Adams.
As a compromise, both Bunn and Adams, who each studied and worked with Wood and were friends from the University of Iowa, were allowed to paint murals.
Adams painted "Early Settlers of Dubuque" in 1936 and 1937.
The painting depicts several symbols of the city's pioneering days, such as the Julien Dubuque Monument and the Mesquakie Native American village.
Adams also represented impending industrialization by painting the Dubuque Shot Tower and a bridge.
Bunn painted "Early Mississippi Packet 'Dubuque III'" (also referred to as "Early Mississippi Steamboats") at the same time.
His mural illustrates life in Dubuque in 1870, when steamboats were a primary method of transportation in the Midwest.
The two murals show a harmony of scale and color use.
The lobby is also decorated with American walnut veneer panels topped by an ornamental cornice with designs of leaves and circles.
Bronze grilles with geometric patterns are a typical Art Deco feature.
The main staircase on the north end of the building is richly finished with rose-gray marble wainscot, stairs, and landings.
The brushed aluminum railing adds a strong Art Deco character to the space.
The courtroom is located on the second floor.
Cardiff green marble encircles the base of the room.
American walnut paneling is laid in a herringbone pattern and topped with a scalloped band of wood.
The scalloped motif is repeated in metal grilles and furniture.
The most elaborate feature of the room is the plaster cornice with carved dentils, leaves, floral designs, and chevrons highlighted with metallic paint.