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.

Ex Input:
Passage: After the Southwest became part of the U.S., explorers continued to look for good east–west routes along the 35th parallel. In 1853, a crew led by U.S. Army Lieutenant Amiel Whipple surveyed along a sandy wash in the northern part of the Petrified Forest. So impressed was Whipple by the petrified wood along the banks of the arroyo that he named it Lithodendron Creek (Stone Tree Creek). Geologist Jules Marcou, a member of the Whipple expedition, observed that the petrified trees were from the Triassic.A slightly later route along the parallel was a wagon road, built between 1857 and 1860, that involved experimental use of camels as transport. In the late 19th century, settlers and private stagecoach companies followed similar east–west routes. Homesteaders who stayed in the area developed cattle ranches on the grasslands, and cattle grazed in the Petrified Forest until the mid-20th century.Also close to the 35th parallel was the Atlantic and Pacific Railroad. Its opening in the early 1880s led to the founding of towns like Holbrook and Adamana. Visitors could stop at the Adamana train station, book a hotel room, and take a tour of what was then called the Chalcedony Forest. Over the years, the line changed hands, becoming the Atchison, Topeka and Santa Fe Railway, and then the BNSF. More than 60 BNSF trains, mostly carrying freight, pass through the park every day. U.S. Route 66, a former transcontinental auto highway developed in 1926 from part of the National Old Trails Road, ran parallel to the railroad tracks until it was decommissioned in 1985. The park has preserved within its boundaries a small grassy section of the road. Interstate 40, which crosses the park, replaced the older highway. 
Question: What is the name of the place that 60 BNSF trains pass through everyday?

Ex Output:
Petrified Forest.


Ex Input:
Passage: After his stern Uncle Daniel describes him as a "millstone" for neglecting his chores, ten year old Toby Tyler runs away from his foster home to join the circus. There he soon befriends Mr. Stubbs, a frisky chimpanzee. However, the circus isn't all fun and games. His employer Harry Tupper, the candy vendor, is dishonest and greedy. He convinces Toby that his Aunt Olive and Uncle Daniel don't love him or want him back and hides their letters. Toby resigns himself to circus life, even scoring himself a much bigger role, when he replaces the uppity, self-centered boy bareback rider after an injury. When Toby discovers, with the help of Mr. Stubbs, that Harry lied to him about his aunt and uncle he departs the circus for home. Mr. Stubbs follows him and Toby decides to take the chimp home with him. Soon after, though, Mr. Stubbs is chased by a hunter's dog. The hunter, Jim Weaver, accidentally shoots Mr. Stubbs just as Harry arrives to haul Toby back to the circus.  
Back at the circus, Toby finds his aunt and uncle in attendance, leading to a tearful reunion. When Harry tries to pursue Toby, he's obstructed by Ben, who confronts him for tampering with Toby's mail and warns him to leave him alone. Joyfully, just before Toby's performance, with his family in attendance, he discovers that Mr. Stubbs has survived his wounds, having been brought back to the circus by Jim. Relieved, Toby begins his performance on horseback, only to have Mr. Stubbs jump down from the trapeze to join him, thus creating a wonderful new act for the circus. 
Question: What is the full name of the person Harry Tupper employeed?

Ex Output:
Toby Tyler.


Ex Input:
Passage: Oliver was not one to intellectualise her creativity: she preferred to talk about the process of creating her artworks rather than their meanings. Asked about how she approached her art, she stated:
My work is about structure and order. It is a pursuit of a kind of logic: a formal, sculptural logic and poetic logic. It is a conceptual and physical process of building and taking away at the same time. I set out to strip the ideas and associations down to (physically and metaphorically) just the bones, exposing the life still held inside.
While Oliver was reluctant to discuss meaning in her works, critics have identified recurring themes. Hannah Fink, like art critic John McDonald, noted that there is a pattern to the shapes and structures in Oliver's work. Fink described this as "a consistent vocabulary of elemental forms – the spiral, meander, loop and sphere – in a repertoire of signature archetypes". McDonald said that Nature is "omnipresent" and referred to them as organisms or their remains.Despite their organic appearance, Oliver's own view was that her work was not grounded in nature's structures.  Nevertheless, critics have identified the lifelike qualities of early pieces that resembled shells, claws or tails, or noted the apparent similarities to biological forms. McDonald commented that "For Oliver to deny nature is akin to Balthus saying there is nothing erotic about his paintings or Rothko claiming his works aren't abstract." Both major reviews of Oliver's work (Fenner's 1995 essay and Fink's 2002 journal article) draw attention to dualism and contradiction in the sculptures: Fenner describes them as "delicate and ephemeral, [yet] structurally robust and durable"; Fink sees them as "ethereal but solid, fluid yet rigid, open but closed".Oliver's sculptures are admired for their tactile nature, their aesthetics, and the technical skills demonstrated in their production.
Particular works have been singled out for praise. A writer reviewing Vine in the Sydney Hilton admired how it "curls like a fairy tale beanstalk up towards the ceiling as though empowered by the sunlight streaming in from a large open space adjacent". Journalist Catherine Keenan's 2005 description of how the towering sculpture demonstrated both aesthetic and production values are typical of comments about Oliver's work:
It has the delicate, adamantine beauty that characterises many of her pieces, but is also an engineering marvel: 380 kilograms of metal that was delivered on the back of an oversized truck and now hangs from a single specially manufactured rod fixed to the ceiling.
The Sydney Morning Herald's art writer, John McDonald, said of her work "It often seems to me she's only got one tune, but it's a pretty good tune". He later elaborated:. 
Question: What is the precise name of the work that, according to Catherine Keenan, "is an engineering marvel"?

Ex Output:

Vine.