This task is about creating an unanswerable question based on a given passage. Construct a question that looks relevant to the given context but is unanswerable. Following are a few suggestions about how to create unanswerable questions:
(i) create questions which require satisfying a constraint that is not mentioned in the passage
(ii) create questions which require information beyond what is provided in the passage in order to answer
(iii) replace an existing entity, number, date mentioned in the passage with other entity, number, date and use it in the question
(iv) create a question which is answerable from the passage and then replace one or two words by their antonyms or insert/remove negation words to make it unanswerable.
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Question: Passage: At the 1912 Salon d'Automne an architectural installation was exhibited that quickly became known as Maison Cubiste (Cubist House), signed Raymond Duchamp-Villon and André Mare along with a group of collaborators. Metzinger and Gleizes in Du "Cubisme", written during the assemblage of the "Maison Cubiste", wrote about the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art. Decorative work, to them, was the "antithesis of the picture". "The true picture" wrote Metzinger and Gleizes, "bears its raison d'être within itself. It can be moved from a church to a drawing-room, from a museum to a study. Essentially independent, necessarily complete, it need not immediately satisfy the mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides. It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism...". "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", writes Christopher Green, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye". La Maison Cubiste was a fully furnished house, with a staircase, wrought iron banisters, a living room—the Salon Bourgeois, where paintings by Marcel Duchamp, Metzinger (Woman with a Fan), Gleizes, Laurencin and Léger were hung—and a bedroom. It was an example of L'art décoratif, a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life. Spectators at the Salon d'Automne passed through the full-scale 10-by-3-meter plaster model of the ground floor of the facade, designed by Duchamp-Villon. This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston, listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale).

Answer: What type of boat was La Maison Cubist?


Question: Passage: Between 1925 and 1940, philanthropic foundations, especially ones connected with the Rockefellers, contributed about $7 million to support the Yale Institute of Human Relations and the affiliated Yerkes Laboratories of Primate Biology. The money went toward behavioral science research, which was supported by foundation officers who aimed to "improve mankind" under an informal, loosely defined human engineering effort. The behavioral scientists at Yale, led by President James R. Angell and psychobiologist Robert M. Yerkes, tapped into foundation largesse by crafting research programs aimed to investigate, then suggest, ways to control, sexual and social behavior. For example, Yerkes analyzed chimpanzee sexual behavior in hopes of illuminating the evolutionary underpinnings of human development and providing information that could ameliorate dysfunction. Ultimately, the behavioral-science results disappointed foundation officers, who shifted their human-engineering funds toward biological sciences.

Answer: How much did philanthropic foundations donate between 1935 and 1940?


Question: Passage: People who climb mountains or fly in non-pressurized fixed-wing aircraft sometimes have supplemental O
2 supplies.[h] Passengers traveling in (pressurized) commercial airplanes have an emergency supply of O
2 automatically supplied to them in case of cabin depressurization. Sudden cabin pressure loss activates chemical oxygen generators above each seat, causing oxygen masks to drop. Pulling on the masks "to start the flow of oxygen" as cabin safety instructions dictate, forces iron filings into the sodium chlorate inside the canister. A steady stream of oxygen gas is then produced by the exothermic reaction.

Answer:
Who sometimes have supplemental O supplies?