This task is about reading the given passage and construct a question about the information present in the passage. Construct a question in such a way that (i) it is unambiguous, (ii) it is answerable from the passage, (iii) its answer is unique (iv) its answer is a continuous text span from the paragraph. Avoid creating questions that (i) can be answered correctly without actually understanding the paragraph and (ii) uses same words or phrases given in the passage.

[EX Q]: Near the intersection of Craycroft and Ft. Lowell Roads are the remnants of the Historic Fort Lowell. This area has become one of Tucson's iconic neighborhoods. In 1891, the Fort was abandoned and much of the interior was stripped of their useful components and it quickly fell into ruin. In 1900, three of the officer buildings were purchased for use as a sanitarium. The sanitarium was then sold to Harvey Adkins in 1928. The Bolsius family Pete, Nan and Charles Bolsius purchased and renovated surviving adobe buildings of the Fort – transforming them into spectacular artistic southwestern architectural examples. Their woodwork, plaster treatment and sense of proportion drew on their Dutch heritage and New Mexican experience. Other artists and academics throughout the middle of the 20th century, including: Win Ellis, Jack Maul, Madame Cheruy, Giorgio Belloli, Charels Bode, Veronica Hughart, Edward and Rosamond Spicer, Hazel Larson Archer and Ruth Brown, renovated adobes, built homes and lived in the area. The artist colony attracted writers and poets including beat generation Alan Harrington and Jack Kerouac whose visit is documented in his iconic book On the Road. This rural pocket in the middle of the city is listed on the National Register of Historic Places. Each year in February the neighborhood celebrates its history in the City Landmark it owns and restored the San Pedro Chapel.
[EX A]: Who bought The sanitarium in 1928?

[EX Q]: A significant modification of Cubism between 1914 and 1916 was signaled by a shift towards a strong emphasis on large overlapping geometric planes and flat surface activity. This grouping of styles of painting and sculpture, especially significant between 1917 and 1920, was practiced by several artists; particularly those under contract with the art dealer and collector Léonce Rosenberg. The tightening of the compositions, the clarity and sense of order reflected in these works, led to its being referred to by the critic Maurice Raynal (fr) as 'crystal' Cubism. Considerations manifested by Cubists prior to the outset of World War I—such as the fourth dimension, dynamism of modern life, the occult, and Henri Bergson's concept of duration—had now been vacated, replaced by a purely formal frame of reference.
[EX A]: What did the critic Maurice Raynal begin to refer to Cubism in around 1917-1920?

[EX Q]: The European Union uses the terms racial origin and ethnic origin synonymously in its documents and according to it "the use of the term 'racial origin' in this directive does not imply an acceptance of such [racial] theories".[full citation needed] Haney López warns that using "race" as a category within the law tends to legitimize its existence in the popular imagination. In the diverse geographic context of Europe, ethnicity and ethnic origin are arguably more resonant and are less encumbered by the ideological baggage associated with "race". In European context, historical resonance of "race" underscores its problematic nature. In some states, it is strongly associated with laws promulgated by the Nazi and Fascist governments in Europe during the 1930s and 1940s. Indeed, in 1996, the European Parliament adopted a resolution stating that "the term should therefore be avoided in all official texts".
[EX A]:
Who uses the terms racial origin and ethnic origin interchangeably?