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 Q]: 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?
[EX A]: an information desk.

[EX Q]: Passage: New York City's Central Park, an oasis that functions as the city's "green lung", was in a state of deterioration in the mid-1970s. Though Central Park had been designated a National Historic Landmark in 1962, at the start of the 1980s, the city lacked the financial resources to spend an estimated US$3,000,000 to restore or even to maintain the park. The nonprofit Central Park Conservancy was founded in 1980, and began a successful campaign to raise renovation funds.In the early 1980s, Parks Commissioner Gordon Davis, responsible for New York City's green areas, and Ron Delsener, one of the city's most influential concert promoters, developed the idea of helping Central Park financially with a free open-air concert, under the legal guidance of Bob Donnelly. The city would use profits from merchandising, television, and video rights to renovate the park. Earlier park performances by Elton John and James Taylor showed that this concept could be a success. Davis authorized the project, and Delsener entered discussions with cable TV channel HBO to decide who would perform.They decided on Simon & Garfunkel, a group that had formed in New York City in the 1960s, and had been one of the most successful folk rock groups through the late 60s/early 70s. Simon & Garfunkel had broken up at the height of their popularity and shortly after the release of their fifth studio album, Bridge Over Troubled Water, which is deemed to be their artistic peak and which topped the 1970 Billboard charts for ten weeks. They had grown apart artistically and did not get along well with each other. In the following eleven years, both continued musical careers as solo artists, and worked together only sporadically on single projects. Garfunkel made brief guest appearances at Simon's concerts, which were always successful.Delsener presented the plan to Paul Simon in the summer of 1981. Simon was enthusiastic about the idea, but questioned whether it could be financially successful, especially given the poor audience attendance of his last project, the autobiographical movie One-Trick Pony. Simon's confidence had declined and he had sought treatment for depression. He questioned whether he and Art Garfunkel could work together, but contacted Garfunkel, who was vacationing in Switzerland. Garfunkel was excited about the idea, and immediately returned to the US.From the promoter's viewpoint, Simon and Garfunkel were ideal choices. Not only were they likely to draw a large crowd to the concert, they also had roots in the city –  both had grown up and gone to school in Forest Hills, Queens. Music critic Stephen Holden pointed out that, unlike artists who had left in pursuit of lifestyles offered by other locales, the two had always been a part of New York City. Both gained inspiration from the cityscape and the cultural variety of New York, and spoke of these influences in their songs. 
Question: What is the name of the city that lacked the financial resources to spend an estimated US$3,000,000 to restore or even maintain its "green lung" at the start of the 1980s??
[EX A]: New York City.

[EX Q]: Passage: Though generally a commentator rather than a campaigner, Lancaster made an exception for the protection of Britain's architectural heritage, where he became a leader of public opinion. The historian Jerry White has written that the demolition of the Euston Arch in London in 1962 alerted the general public that "without vigilance and sturdy resistance, London was in danger of losing its landmarks one by one, in the interests of either profit or a misconceived public weal". Lancaster had been pressing this point since before the war. In 1967 he was appointed to the Greater London Council's Historic Buildings advisory committee, joining Betjeman, Pevsner and Sir John Summerson. They played a major role in defeating the Labour government's plans to demolish the front of the Tate Gallery. In 1973, with Betjeman and others of like mind Lancaster campaigned against the Conservative government's imposition of entry charges to hitherto free galleries and museums; the charges caused admissions to drop drastically, and were soon abolished.In June 1975 Lancaster was knighted in the Queen's Birthday Honours. He and his wife collaborated on The Pleasure Garden (1977), a history of the British garden. Although great gardens such as Stowe were given full coverage, her text and his drawings did not neglect more modest efforts: "The suburban garden is the most important garden of the 20th century and there is no excuse other than ignorance for using the word 'suburban' in a derogatory sense". The following year Lancaster was made a Royal Designer for Industry (RDI) by the Royal Society of Arts, a distinction in which his predecessors had included the artist and architect Hugh Casson; the typographer Eric Gill; Charles Holden, London Transport's architect; Barnes Wallis, the wartime engineer; and a modernist architect with whom Lancaster had vigorously crossed swords, Sir Basil Spence. There would not be another theatre designer RDI until Stefanos Lazaridis in 2003. In 1978 Lancaster suffered the first of a series of strokes, and his health began a slow decline. He designed no more for the theatre, drew his last pocket cartoon for the Express in May 1981, and published his last collection, The Life and Times of Maudie Littlehampton the following year.Lancaster died at his Chelsea flat on 27 July 1986, aged 77. He was buried with previous generations of his family in the churchyard at East Winch. A memorial service was held at St Paul's, Covent Garden in October 1986. 
Question: Whose predecessors had included the artist and architect Hugh Casson; the typographer Eric Gill; Charles Holden??
[EX A]:
Lancaster.