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: Santa Monica was long inhabited by the Tongva people. Santa Monica was called Kecheek in the Tongva language. The first non-indigenous group to set foot in the area was the party of explorer Gaspar de Portolà, who camped near the present day intersection of Barrington and Ohio Avenues on August 3, 1769. There are two different versions of the naming of the city. One says that it was named in honor of the feast day of Saint Monica (mother of Saint Augustine), but her feast day is actually May 4. Another version says that it was named by Juan Crespí on account of a pair of springs, the Kuruvungna Springs (Serra Springs), that were reminiscent of the tears that Saint Monica shed over her son's early impiety.

Answer: What language did Gaspar de Portola speak?


Question: Passage: Mining was important in Thuringia since the later Middle Ages, especially within the mining towns of the Thuringian Forest such as Schmalkalden, Suhl and Ilmenau. Following the industrial revolution, the old iron, copper and silver mines declined because the competition from imported metal was too strong. On the other hand, the late 19th century brought new types of mines to Thuringia: the lignite surface mining around Meuselwitz near Altenburg in the east of the Land started in the 1870s, and two potash mining districts were established around 1900. These are the Südharzrevier in the north of the state, between Bischofferode in the west and Roßleben in the east with Sondershausen at its centre, and the Werrarevier on the Hessian border around Vacha and Bad Salzungen in the west. Together, they accounted for a significant part of the world's potash production in the mid-20th century. After the reunification, the Südharzrevier was abandoned, whereas K+S took over the mines in the Werrarevier. Between 1950 and 1990, uranium mining was also important to cover the Soviet Union's need for this metal. The centre was Ronneburg near Gera in eastern Thuringia and the operating company Wismut was under direct Soviet control.

Answer:
Which towns in Thuringia are falsely known as mining towns?