In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.
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Question: Passage: Many recreational activities are available along the chain. The Mono Basin National Scenic Area visitor center is located near Mono Lake just off U.S. Route 395. A bookstore, an information desk staffed by USDA Forest Service Rangers, and museum exhibits help to orient visitors. The Mono Lake Committee has a staffed office and visitor information center in Lee Vining on the corner of U.S. Route 395 and 3rd Street. Information on camping, hiking, guided and self-guided tours can all be obtained at either location.
U.S. 395 is a scenic route that roughly parallels the Mono–Inyo Craters volcanic chain. California State Route 120 provides access to the northern and eastern parts of the Mono Domes, including Panum Crater. Mammoth Scenic Loop (also called Dry Creek Road), provides access to the Inyo Crater lakes and some of the Inyo domes.The town of Mammoth Lakes, located near the southern end of the chain and Mammoth Mountain, is the largest populated area nearby. Mammoth Mountain Ski Area is located nearby and gondola rides can be taken year-round (weather permitting) to the mountain's summit. The summit of Mammoth Mountain provides panoramic views of the craters and domes of the Mono–Inyo volcanic chain, Mono Lake, the Sierra Nevada and Long Valley Caldera.
Mono Lake itself has its own set of activities, including walking tours among towers of tufa, boat tours of the lake, and birdwatching opportunities. The lake is too salty to support any fish, but fishing is possible in streams that feed Mono Lake. Additional activities include hiking around and on the craters and domes, and mountain biking outside of the Scenic Area boundaries. 
Question: Information on camping, hiking, guided and self-guided tours can all be obtained at which locations?

Answer: an information desk.


Question: Passage: After the Monte Ne Railroad failed, Harvey needed to find other ways for people to get to his resort. He realized the coming importance of the automobile, and in 1911 he campaigned for a project he called "The Great White Way", a turnpike between Monte Ne and Muskogee, Oklahoma. Harvey Requested that a "Good Roads" meeting be held by the Commercial Club of Rogers; however, they did not feel that it was their meeting because, while fairly well attended, hardly any Rogers businessmen were present. Harvey assessed the project would cost Rogers $5,000 without their permission or consent, and this estimate was far less than what engineers advising the Rogers businessmen believed the cost would be. Ultimately the "Great White Way" project failed, and Harvey blamed the community of Rogers for lack of support.In 1913 he spearhead the founding of The Ozark Trails Association (OTA) to promote the building and education of quality highway design, but not actually building or funding them. At first, he was only interested in bringing people to Monte Ne, he stated: "My Personal interest in the Ozark Trails is that they all lead to Monte Ne" However, he seems to have taken on a more egalitarian opinion of the Ozark Trails as time went on because he later said: "My inclination runs toward doing something of a progressive nature that will promote the collective good, and I have now concentrated all that inclination on carrying out a system of roads known as the Ozark Trails." The Ozark Trails Association became Harvey's most successful endeavor. Interest in the project spread, and membership swelled to 7,000 delegates from states as far away as New Mexico. The group built large obelisks, listing the names of the benefactors, along the routes and trails that it sponsored. He even ran for Congress on a platform of building a national highway system, but lost to John W. Tillman who had strong support in Washington County.Interest in the group began to waver noticeably when Harvey finally stepped down as president at a 1920 convention in Pittsburg, Kansas that was attended by only 200 delegates. By the mid-1920s, highways and roads had become completely government-funded and there was no longer a need for local sponsorship. The group's system of giving them historic names and those of contributors had also become confusing and inefficient because of the myriad names and disputes over different names for the same stretch of roadway, so the U.S. Bureau of Public Roads (BPR) changed all the roadways' names to uniform numbers, despite fierce protest from the OTA. The group had lost its relevance and disbanded in 1924, but many of the roads they helped develop became part of the historic U.S. Route 66.Another group, with no affiliation but with the same name, was created in the early 1970s to promote the maintenance of recreational trails in the Ozarks. 
Question: What is the name of the person who ran for Congress on a platform of building a national highway system?

Answer: Harvey.


Question: Passage: At this point Lissitzky subscribed fully to suprematism and, under the guidance of Malevich, helped further develop the movement. In 1919–1920 Lissitzky was a head of Architectural department at the People's Art School where with his students, primarily Lazar Khidekel, he was working on transition from plane to volumetric suprematism. Lissitzky designed On the New System of Art by Malevich, who responded in December 1919: "Lazar Markovich, I salute you on the publication of this little book". Perhaps the most famous work by Lissitzky from the same period was the 1919 propaganda poster "Beat the Whites with the Red Wedge". Russia was going through a civil war at the time, which was mainly fought between the "Reds" (communists, socialists and revolutionaries) and the "Whites" (monarchists, conservatives, liberals and other socialists who opposed the Bolshevik Revolution). The image of the red wedge shattering the white form, simple as it was, communicated a powerful message that left no doubt in the viewer's mind of its intention. The piece is often seen as alluding to the similar shapes used on military maps and, along with its political symbolism, was one of Lissitzky's first major steps away from Malevich's non-objective suprematism into a style his own. He stated: "The artist constructs a new symbol with his brush. This symbol is not a recognizable form of anything that is already finished, already made, or already existent in the world – it is a symbol of a new world, which is being built upon and which exists by the way of the people."In January 17, 1920, Malevich and Lissitzky co-founded the short-lived Molposnovis (Young followers of a new art), a proto-suprematist association of students, professors, and other artists. After a brief and stormy dispute between "old" and "young" generations, and two rounds of renaming, the group reemerged as UNOVIS (Exponents of the new art) in February. Under the leadership of Malevich the group worked on a "suprematist ballet", choreographed by Nina Kogan and on the remake of a 1913 futurist opera Victory Over the Sun by Mikhail Matyushin and Aleksei Kruchenykh. Lissitzky and the entire group chose to share credit and responsibility for the works produced within the group, signing most pieces with a black square. This was partly a homage to a similar piece by their leader, Malevich, and a symbolic embrace of the Communist ideal. This would become the de facto seal of UNOVIS that took the place of individual names or initials. Black squares worn by members as chest badges and cufflinks also resembled the ritual tefillin and thus were no strange symbol in Vitebsk shtetl.The group, which disbanded in 1922, would be pivotal in the dissemination of suprematist ideology in Russia and abroad and launch Lissitzky's status as one of the leading figures in the avant garde. Incidentally, the earliest appearance of the signature Lissitzky (Russian: Эль Лисицкий) emerged in the handmade UNOVIS Miscellany, issued in two copies in March–April 1920, and containing his manifesto on book art: "the book enters the skull through the eye not the ear therefore the pathways the waves move at much greater speed and with more intensity. if i (sic) can only sing through my mouth with a book i (sic) can show myself in various guises.". 
Question: Who stated "the artist constructs a new symbol with his brush"?

Answer:
Lissitzky.