Question: Where did Annu Matthew spent her early adulthood?

Answer: in India

★ ‘Swedish Wooden Toys’ (through Feb. 28) This presentation of more than 300 playthings from the late 16th to the early 21st centuries will be catnip for anyone into antique toys. The show features diminutive vehicles of all kinds from old-time wagons, trains and fully-rigged sailboats, to futuristic cars and a rocket ship. There are naturalistic and anthropomorphic animals, weapons, puzzles, games, dollhouses and architectural construction kits. While many of these items were produced by big manufacturers like BRIO and Playsam, many others are one-of-a-kind wonders like a miniature baking set from around 1900 that includes rolling pins, spatulas and other implements all lovingly carved from wood and fitting into a tray just eight inches long. Bard Graduate Center Gallery, 18 West 86th Street, Manhattan, 212-501-3011, bgc.bard.edu. (Johnson) ★ Gil Batle: ‘Hatched in Prison’ (through Jan. 9) Mr. Batle, 53, served a total of 20 years in five California prisons for fraud and forgery. Now living in the Philippines, he has been recounting his experiences in an unlikely medium. Using a high-speed dental drill, he carves miniature narratives of prison life into the surfaces of ostrich eggs. The 19 examples in this show, all made in the past two years, are amazing for their meticulous craftsmanship and detailed story telling. Ricco Maresca, 529 West 20th Street, Chelsea, 212-627-4819, riccomaresca.com. (Johnson) ★ Annu Palakunnathu Matthew: ‘Indelible Memories’ (through Jan. 16) <hl> Ms. Matthew was born in England to Indian parents, spent her adolescence and early adulthood in India , and has lived in the United States since. <hl> The mostly album-size photographs in this compact but far-ranging gallery survey are about the intensities and confusions of a cultural mixing that makes the artist, psychologically, both a global citizen and an outsider, at home and in transit, wherever she is. And it’s about photography as document and fiction: souvenir, re-enactment and imaginative projection. (Closed Dec. 24 through Jan. 4.) A beautiful show that could too easily slip away. sepiaEYE, 547 West 27th Street, Chelsea, 212-967-0738, sepiaeye.com. (Cotter) ★ Robert Ryman (through June 18) For nearly 60s years, the Minimalist painter Robert Ryman has had few equals when it comes to doing more with less. White has been his primary, if not quite his only, color, the square his typical format. And yet within these seeming limitations a remarkably fecund and resonant body of work has evolved as demonstrated with unusual clarity (and in natural light) by this small but comprehensive exhibition. Dia: Chelsea, 535 West 22nd Street, 212-989-5566, diaart.org. (Smith) ★ Giorgio Morandi (through June 25) The Italian master of modern still life, and closet abstractionist, is celebrated in a large show devoted foremost to his painting from the 1930s, which are not well known in this country. They reveal a period of struggle during which the artist had settled on what to paint, how to paint was still very much up for grabs. Joel Meyerowitz’s large color photographs of Morandi’s still life objects – which he sometimes altered – are also on view. Reservations are required. Center for Italian Modern Art, 421 Broome Street, near Crosby Street, SoHo, 646-370-3596, italianmodernart.org. (Smith)

★ ‘Swedish Wooden Toys’ (through Feb. 28) This presentation of more than 300 playthings from the late 16th to the early 21st centuries will be catnip for anyone into antique toys. The show features diminutive vehicles of all kinds from old-time wagons, trains and fully-rigged sailboats, to futuristic cars and a rocket ship. There are naturalistic and anthropomorphic animals, weapons, puzzles, games, dollhouses and architectural construction kits. While many of these items were produced by big manufacturers like BRIO and Playsam, many others are one-of-a-kind wonders like a miniature baking set from around 1900 that includes rolling pins, spatulas and other implements all lovingly carved from wood and fitting into a tray just eight inches long. Bard Graduate Center Gallery, 18 West 86th Street, Manhattan, 212-501-3011, bgc.bard.edu. (Johnson) ★ Gil Batle: ‘Hatched in Prison’ (through Jan. 9) Mr. Batle, 53, served a total of 20 years in five California prisons for fraud and forgery. Now living in the Philippines, he has been recounting his experiences in an unlikely medium. Using a high-speed dental drill, he carves miniature narratives of prison life into the surfaces of ostrich eggs. The 19 examples in this show, all made in the past two years, are amazing for their meticulous craftsmanship and detailed story telling. Ricco Maresca, 529 West 20th Street, Chelsea, 212-627-4819, riccomaresca.com. (Johnson) ★ Annu Palakunnathu Matthew: ‘Indelible Memories’ (through Jan. 16) Ms. Matthew was born in England to Indian parents, spent her adolescence and early adulthood <hl> in India <hl>, and has lived in the United States since. The mostly album-size photographs in this compact but far-ranging gallery survey are about the intensities and confusions of a cultural mixing that makes the artist, psychologically, both a global citizen and an outsider, at home and in transit, wherever she is. And it’s about photography as document and fiction: souvenir, re-enactment and imaginative projection. (Closed Dec. 24 through Jan. 4.) A beautiful show that could too easily slip away. sepiaEYE, 547 West 27th Street, Chelsea, 212-967-0738, sepiaeye.com. (Cotter) ★ Robert Ryman (through June 18) For nearly 60s years, the Minimalist painter Robert Ryman has had few equals when it comes to doing more with less. White has been his primary, if not quite his only, color, the square his typical format. And yet within these seeming limitations a remarkably fecund and resonant body of work has evolved as demonstrated with unusual clarity (and in natural light) by this small but comprehensive exhibition. Dia: Chelsea, 535 West 22nd Street, 212-989-5566, diaart.org. (Smith) ★ Giorgio Morandi (through June 25) The Italian master of modern still life, and closet abstractionist, is celebrated in a large show devoted foremost to his painting from the 1930s, which are not well known in this country. They reveal a period of struggle during which the artist had settled on what to paint, how to paint was still very much up for grabs. Joel Meyerowitz’s large color photographs of Morandi’s still life objects – which he sometimes altered – are also on view. Reservations are required. Center for Italian Modern Art, 421 Broome Street, near Crosby Street, SoHo, 646-370-3596, italianmodernart.org. (Smith)

Ms. Matthew was born in England to Indian parents, spent her adolescence and early adulthood <hl> in India <hl> , and has lived in the United States since.


Question: What is Giorgio Morandi the master of?

★ ‘Swedish Wooden Toys’ (through Feb. 28) This presentation of more than 300 playthings from the late 16th to the early 21st centuries will be catnip for anyone into antique toys. The show features diminutive vehicles of all kinds from old-time wagons, trains and fully-rigged sailboats, to futuristic cars and a rocket ship. There are naturalistic and anthropomorphic animals, weapons, puzzles, games, dollhouses and architectural construction kits. While many of these items were produced by big manufacturers like BRIO and Playsam, many others are one-of-a-kind wonders like a miniature baking set from around 1900 that includes rolling pins, spatulas and other implements all lovingly carved from wood and fitting into a tray just eight inches long. Bard Graduate Center Gallery, 18 West 86th Street, Manhattan, 212-501-3011, bgc.bard.edu. (Johnson) ★ Gil Batle: ‘Hatched in Prison’ (through Jan. 9) Mr. Batle, 53, served a total of 20 years in five California prisons for fraud and forgery. Now living in the Philippines, he has been recounting his experiences in an unlikely medium. Using a high-speed dental drill, he carves miniature narratives of prison life into the surfaces of ostrich eggs. The 19 examples in this show, all made in the past two years, are amazing for their meticulous craftsmanship and detailed story telling. Ricco Maresca, 529 West 20th Street, Chelsea, 212-627-4819, riccomaresca.com. (Johnson) ★ Annu Palakunnathu Matthew: ‘Indelible Memories’ (through Jan. 16) Ms. Matthew was born in England to Indian parents, spent her adolescence and early adulthood in India, and has lived in the United States since. The mostly album-size photographs in this compact but far-ranging gallery survey are about the intensities and confusions of a cultural mixing that makes the artist, psychologically, both a global citizen and an outsider, at home and in transit, wherever she is. And it’s about photography as document and fiction: souvenir, re-enactment and imaginative projection. (Closed Dec. 24 through Jan. 4.) A beautiful show that could too easily slip away. sepiaEYE, 547 West 27th Street, Chelsea, 212-967-0738, sepiaeye.com. (Cotter) ★ Robert Ryman (through June 18) For nearly 60s years, the Minimalist painter Robert Ryman has had few equals when it comes to doing more with less. White has been his primary, if not quite his only, color, the square his typical format. And yet within these seeming limitations a remarkably fecund and resonant body of work has evolved as demonstrated with unusual clarity (and in natural light) by this small but comprehensive exhibition. Dia: Chelsea, 535 West 22nd Street, 212-989-5566, diaart.org. (Smith) ★ Giorgio Morandi (through June 25) The Italian master of modern still life, and closet abstractionist, is celebrated in a large show devoted foremost to his painting from the 1930s, which are not well known in this country. They reveal a period of struggle during which the artist had settled on what to paint, how to paint was still very much up for grabs. Joel Meyerowitz’s large color photographs of Morandi’s still life objects – which he sometimes altered – are also on view. Reservations are required. Center for Italian Modern Art, 421 Broome Street, near Crosby Street, SoHo, 646-370-3596, italianmodernart.org. (Smith)

Answer: modern still life

★ ‘Swedish Wooden Toys’ (through Feb. 28) This presentation of more than 300 playthings from the late 16th to the early 21st centuries will be catnip for anyone into antique toys. The show features diminutive vehicles of all kinds from old-time wagons, trains and fully-rigged sailboats, to futuristic cars and a rocket ship. There are naturalistic and anthropomorphic animals, weapons, puzzles, games, dollhouses and architectural construction kits. While many of these items were produced by big manufacturers like BRIO and Playsam, many others are one-of-a-kind wonders like a miniature baking set from around 1900 that includes rolling pins, spatulas and other implements all lovingly carved from wood and fitting into a tray just eight inches long. Bard Graduate Center Gallery, 18 West 86th Street, Manhattan, 212-501-3011, bgc.bard.edu. (Johnson) ★ Gil Batle: ‘Hatched in Prison’ (through Jan. 9) Mr. Batle, 53, served a total of 20 years in five California prisons for fraud and forgery. Now living in the Philippines, he has been recounting his experiences in an unlikely medium. Using a high-speed dental drill, he carves miniature narratives of prison life into the surfaces of ostrich eggs. The 19 examples in this show, all made in the past two years, are amazing for their meticulous craftsmanship and detailed story telling. Ricco Maresca, 529 West 20th Street, Chelsea, 212-627-4819, riccomaresca.com. (Johnson) ★ Annu Palakunnathu Matthew: ‘Indelible Memories’ (through Jan. 16) Ms. Matthew was born in England to Indian parents, spent her adolescence and early adulthood in India, and has lived in the United States since. The mostly album-size photographs in this compact but far-ranging gallery survey are about the intensities and confusions of a cultural mixing that makes the artist, psychologically, both a global citizen and an outsider, at home and in transit, wherever she is. And it’s about photography as document and fiction: souvenir, re-enactment and imaginative projection. (Closed Dec. 24 through Jan. 4.) A beautiful show that could too easily slip away. sepiaEYE, 547 West 27th Street, Chelsea, 212-967-0738, sepiaeye.com. (Cotter) ★ Robert Ryman (through June 18) For nearly 60s years, the Minimalist painter Robert Ryman has had few equals when it comes to doing more with less. White has been his primary, if not quite his only, color, the square his typical format. And yet within these seeming limitations a remarkably fecund and resonant body of work has evolved as demonstrated with unusual clarity (and in natural light) by this small but comprehensive exhibition. Dia: Chelsea, 535 West 22nd Street, 212-989-5566, diaart.org. (Smith) ★ Giorgio Morandi (through June 25) <hl> The Italian master of modern still life , <hl> and closet abstractionist, is celebrated in a large show devoted foremost to his painting from the 1930s, which are not well known in this country. They reveal a period of struggle during which the artist had settled on what to paint, how to paint was still very much up for grabs. Joel Meyerowitz’s large color photographs of Morandi’s still life objects – which he sometimes altered – are also on view. Reservations are required. Center for Italian Modern Art, 421 Broome Street, near Crosby Street, SoHo, 646-370-3596, italianmodernart.org. (Smith)

★ ‘Swedish Wooden Toys’ (through Feb. 28) This presentation of more than 300 playthings from the late 16th to the early 21st centuries will be catnip for anyone into antique toys. The show features diminutive vehicles of all kinds from old-time wagons, trains and fully-rigged sailboats, to futuristic cars and a rocket ship. There are naturalistic and anthropomorphic animals, weapons, puzzles, games, dollhouses and architectural construction kits. While many of these items were produced by big manufacturers like BRIO and Playsam, many others are one-of-a-kind wonders like a miniature baking set from around 1900 that includes rolling pins, spatulas and other implements all lovingly carved from wood and fitting into a tray just eight inches long. Bard Graduate Center Gallery, 18 West 86th Street, Manhattan, 212-501-3011, bgc.bard.edu. (Johnson) ★ Gil Batle: ‘Hatched in Prison’ (through Jan. 9) Mr. Batle, 53, served a total of 20 years in five California prisons for fraud and forgery. Now living in the Philippines, he has been recounting his experiences in an unlikely medium. Using a high-speed dental drill, he carves miniature narratives of prison life into the surfaces of ostrich eggs. The 19 examples in this show, all made in the past two years, are amazing for their meticulous craftsmanship and detailed story telling. Ricco Maresca, 529 West 20th Street, Chelsea, 212-627-4819, riccomaresca.com. (Johnson) ★ Annu Palakunnathu Matthew: ‘Indelible Memories’ (through Jan. 16) Ms. Matthew was born in England to Indian parents, spent her adolescence and early adulthood in India, and has lived in the United States since. The mostly album-size photographs in this compact but far-ranging gallery survey are about the intensities and confusions of a cultural mixing that makes the artist, psychologically, both a global citizen and an outsider, at home and in transit, wherever she is. And it’s about photography as document and fiction: souvenir, re-enactment and imaginative projection. (Closed Dec. 24 through Jan. 4.) A beautiful show that could too easily slip away. sepiaEYE, 547 West 27th Street, Chelsea, 212-967-0738, sepiaeye.com. (Cotter) ★ Robert Ryman (through June 18) For nearly 60s years, the Minimalist painter Robert Ryman has had few equals when it comes to doing more with less. White has been his primary, if not quite his only, color, the square his typical format. And yet within these seeming limitations a remarkably fecund and resonant body of work has evolved as demonstrated with unusual clarity (and in natural light) by this small but comprehensive exhibition. Dia: Chelsea, 535 West 22nd Street, 212-989-5566, diaart.org. (Smith) ★ Giorgio Morandi (through June 25) The Italian master of <hl> modern still life <hl>, and closet abstractionist, is celebrated in a large show devoted foremost to his painting from the 1930s, which are not well known in this country. They reveal a period of struggle during which the artist had settled on what to paint, how to paint was still very much up for grabs. Joel Meyerowitz’s large color photographs of Morandi’s still life objects – which he sometimes altered – are also on view. Reservations are required. Center for Italian Modern Art, 421 Broome Street, near Crosby Street, SoHo, 646-370-3596, italianmodernart.org. (Smith)

The Italian master of <hl> modern still life <hl> ,


Question: What years does the Exhibition For a New World to Come span?

★ ‘For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979’ (through Jan. 10) This exceptionally informative exhibition presents photographs, photography books, paintings, sculptures and videos produced by 29 Japanese artists during a decade of ideological disillusionment following the utopian excitement of the 1960s. Most of the works are black and white and driven by abstract concepts, with many focused on the nature of photography itself. It’s a dry show, but it’s fascinating for its revelation of memes and trends that continue to resonate in photographic art around the world. Japan Society, 333 East 47th Street, Manhattan, 212-832-1155, japansociety.org. (Johnson)

Answer: 1968-1979

<hl> ★ ‘For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979 ’ (through Jan. 10) <hl> This exceptionally informative exhibition presents photographs, photography books, paintings, sculptures and videos produced by 29 Japanese artists during a decade of ideological disillusionment following the utopian excitement of the 1960s. Most of the works are black and white and driven by abstract concepts, with many focused on the nature of photography itself. It’s a dry show, but it’s fascinating for its revelation of memes and trends that continue to resonate in photographic art around the world. Japan Society, 333 East 47th Street, Manhattan, 212-832-1155, japansociety.org. (Johnson)

★ ‘For a New World to Come: Experiments in Japanese Art and Photography, <hl> 1968-1979 <hl>’ (through Jan. 10) This exceptionally informative exhibition presents photographs, photography books, paintings, sculptures and videos produced by 29 Japanese artists during a decade of ideological disillusionment following the utopian excitement of the 1960s. Most of the works are black and white and driven by abstract concepts, with many focused on the nature of photography itself. It’s a dry show, but it’s fascinating for its revelation of memes and trends that continue to resonate in photographic art around the world. Japan Society, 333 East 47th Street, Manhattan, 212-832-1155, japansociety.org. (Johnson)

★ ‘For a New World to Come: Experiments in Japanese Art and Photography, <hl> 1968-1979 <hl> ’ (through Jan. 10)


Question: How many artists are featured in the exhibition A New World to Come?

Answer: 29

★ ‘For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979’ (through Jan. 10) <hl> This exceptionally informative exhibition presents photographs, photography books, paintings, sculptures and videos produced by 29 Japanese artists during a decade of ideological disillusionment following the utopian excitement of the 1960s. <hl> Most of the works are black and white and driven by abstract concepts, with many focused on the nature of photography itself. It’s a dry show, but it’s fascinating for its revelation of memes and trends that continue to resonate in photographic art around the world. Japan Society, 333 East 47th Street, Manhattan, 212-832-1155, japansociety.org. (Johnson)

★ ‘For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979’ (through Jan. 10) This exceptionally informative exhibition presents photographs, photography books, paintings, sculptures and videos produced by <hl> 29 <hl> Japanese artists during a decade of ideological disillusionment following the utopian excitement of the 1960s. Most of the works are black and white and driven by abstract concepts, with many focused on the nature of photography itself. It’s a dry show, but it’s fascinating for its revelation of memes and trends that continue to resonate in photographic art around the world. Japan Society, 333 East 47th Street, Manhattan, 212-832-1155, japansociety.org. (Johnson)


Question: What type of works are in the exhibition A New World to Come?

Answer: photographs, photography books, paintings, sculptures and videos

★ ‘For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979’ (through Jan. 10) <hl> This exceptionally informative exhibition presents photographs, photography books, paintings, sculptures and videos produced by 29 Japanese artists during a decade of ideological disillusionment following the utopian excitement of the 1960s. <hl> Most of the works are black and white and driven by abstract concepts, with many focused on the nature of photography itself. It’s a dry show, but it’s fascinating for its revelation of memes and trends that continue to resonate in photographic art around the world. Japan Society, 333 East 47th Street, Manhattan, 212-832-1155, japansociety.org. (Johnson)

★ ‘For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979’ (through Jan. 10) This exceptionally informative exhibition presents <hl> photographs, photography books, paintings, sculptures and videos <hl> produced by 29 Japanese artists during a decade of ideological disillusionment following the utopian excitement of the 1960s. Most of the works are black and white and driven by abstract concepts, with many focused on the nature of photography itself. It’s a dry show, but it’s fascinating for its revelation of memes and trends that continue to resonate in photographic art around the world. Japan Society, 333 East 47th Street, Manhattan, 212-832-1155, japansociety.org. (Johnson)


Question: What are most of the works in the exhibition A New World to Come like?

Answer: black and white and driven by abstract concepts, with many focused on the nature of photography itself

★ ‘For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979’ (through Jan. 10) This exceptionally informative exhibition presents photographs, photography books, paintings, sculptures and videos produced by 29 Japanese artists during a decade of ideological disillusionment following the utopian excitement of the 1960s. <hl> Most of the works are black and white and driven by abstract concepts, with many focused on the nature of photography itself . <hl> It’s a dry show, but it’s fascinating for its revelation of memes and trends that continue to resonate in photographic art around the world. Japan Society, 333 East 47th Street, Manhattan, 212-832-1155, japansociety.org. (Johnson)

★ ‘For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979’ (through Jan. 10) This exceptionally informative exhibition presents photographs, photography books, paintings, sculptures and videos produced by 29 Japanese artists during a decade of ideological disillusionment following the utopian excitement of the 1960s. Most of the works are <hl> black and white and driven by abstract concepts, with many focused on the nature of photography itself <hl>. It’s a dry show, but it’s fascinating for its revelation of memes and trends that continue to resonate in photographic art around the world. Japan Society, 333 East 47th Street, Manhattan, 212-832-1155, japansociety.org. (Johnson)

Most of the works are <hl> black and white and driven by abstract concepts, with many focused on the nature of photography itself <hl> .


Question: Why is the exhibition A New World to Come fascinating?

Answer: for its revelation of memes and trends that continue to resonate in photographic art around the world

★ ‘For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979’ (through Jan. 10) This exceptionally informative exhibition presents photographs, photography books, paintings, sculptures and videos produced by 29 Japanese artists during a decade of ideological disillusionment following the utopian excitement of the 1960s. Most of the works are black and white and driven by abstract concepts, with many focused on the nature of photography itself. <hl> It’s a dry show, but it’s fascinating for its revelation of memes and trends that continue to resonate in photographic art around the world . <hl> Japan Society, 333 East 47th Street, Manhattan, 212-832-1155, japansociety.org. (Johnson)

★ ‘For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979’ (through Jan. 10) This exceptionally informative exhibition presents photographs, photography books, paintings, sculptures and videos produced by 29 Japanese artists during a decade of ideological disillusionment following the utopian excitement of the 1960s. Most of the works are black and white and driven by abstract concepts, with many focused on the nature of photography itself. It’s a dry show, but it’s fascinating <hl> for its revelation of memes and trends that continue to resonate in photographic art around the world <hl>. Japan Society, 333 East 47th Street, Manhattan, 212-832-1155, japansociety.org. (Johnson)

It’s a dry show, but it’s fascinating <hl> for its revelation of memes and trends that continue to resonate in photographic art around the world <hl> .


Question: What does the refutbishing of the Morgan memorial Building reveal?

★ Wadsworth Atheneum Museum of Art (ongoing) The skilled refurbishing of the Atheneum’s storied Morgan Memorial Building reveals as never before the museum’s splendors. The Great Hall is triple-hung with European paintings encircled by a spirited art-historical Cliff Notes from Egypt to Florence. On the second floor the fabulous Cabinet of Art and Curiosities leads to even more often outstanding paintings – Baroque to Modernism – accompanied by an array of decorative objects, especially porcelains. 600 Main Street, Hartford, Conn., 860-278-2670, thewadsworth.org. (Smith)

Answer: the museum’s splendors

★ Wadsworth Atheneum Museum of Art (ongoing) <hl> The skilled refurbishing of the Atheneum’s storied Morgan Memorial Building reveals as never before the museum’s splendors . <hl> The Great Hall is triple-hung with European paintings encircled by a spirited art-historical Cliff Notes from Egypt to Florence. On the second floor the fabulous Cabinet of Art and Curiosities leads to even more often outstanding paintings – Baroque to Modernism – accompanied by an array of decorative objects, especially porcelains. 600 Main Street, Hartford, Conn., 860-278-2670, thewadsworth.org. (Smith)

★ Wadsworth Atheneum Museum of Art (ongoing) The skilled refurbishing of the Atheneum’s storied Morgan Memorial Building reveals as never before <hl> the museum’s splendors <hl>. The Great Hall is triple-hung with European paintings encircled by a spirited art-historical Cliff Notes from Egypt to Florence. On the second floor the fabulous Cabinet of Art and Curiosities leads to even more often outstanding paintings – Baroque to Modernism – accompanied by an array of decorative objects, especially porcelains. 600 Main Street, Hartford, Conn., 860-278-2670, thewadsworth.org. (Smith)

The skilled refurbishing of the Atheneum’s storied Morgan Memorial Building reveals as never before <hl> the museum’s splendors <hl> .


Question: What is The Great Hall hung with?

Answer: European paintings

★ Wadsworth Atheneum Museum of Art (ongoing) The skilled refurbishing of the Atheneum’s storied Morgan Memorial Building reveals as never before the museum’s splendors. <hl> The Great Hall is triple-hung with European paintings encircled by a spirited art-historical Cliff Notes from Egypt to Florence. <hl> On the second floor the fabulous Cabinet of Art and Curiosities leads to even more often outstanding paintings – Baroque to Modernism – accompanied by an array of decorative objects, especially porcelains. 600 Main Street, Hartford, Conn., 860-278-2670, thewadsworth.org. (Smith)

★ Wadsworth Atheneum Museum of Art (ongoing) The skilled refurbishing of the Atheneum’s storied Morgan Memorial Building reveals as never before the museum’s splendors. The Great Hall is triple-hung with <hl> European paintings <hl> encircled by a spirited art-historical Cliff Notes from Egypt to Florence. On the second floor the fabulous Cabinet of Art and Curiosities leads to even more often outstanding paintings – Baroque to Modernism – accompanied by an array of decorative objects, especially porcelains. 600 Main Street, Hartford, Conn., 860-278-2670, thewadsworth.org. (Smith)


Question: What are the European paintings encircled with?

Answer: a spirited art-historical Cliff Notes from Egypt to Florence

★ Wadsworth Atheneum Museum of Art (ongoing) The skilled refurbishing of the Atheneum’s storied Morgan Memorial Building reveals as never before the museum’s splendors. <hl> The Great Hall is triple-hung with European paintings encircled by a spirited art-historical Cliff Notes from Egypt to Florence . <hl> On the second floor the fabulous Cabinet of Art and Curiosities leads to even more often outstanding paintings – Baroque to Modernism – accompanied by an array of decorative objects, especially porcelains. 600 Main Street, Hartford, Conn., 860-278-2670, thewadsworth.org. (Smith)

★ Wadsworth Atheneum Museum of Art (ongoing) The skilled refurbishing of the Atheneum’s storied Morgan Memorial Building reveals as never before the museum’s splendors. The Great Hall is triple-hung with European paintings encircled by <hl> a spirited art-historical Cliff Notes from Egypt to Florence <hl>. On the second floor the fabulous Cabinet of Art and Curiosities leads to even more often outstanding paintings – Baroque to Modernism – accompanied by an array of decorative objects, especially porcelains. 600 Main Street, Hartford, Conn., 860-278-2670, thewadsworth.org. (Smith)

The Great Hall is triple-hung with European paintings encircled by <hl> a spirited art-historical Cliff Notes from Egypt to Florence <hl> .


Question: What is on the second floor?

Answer: the fabulous Cabinet of Art and Curiosities

★ Wadsworth Atheneum Museum of Art (ongoing) The skilled refurbishing of the Atheneum’s storied Morgan Memorial Building reveals as never before the museum’s splendors. The Great Hall is triple-hung with European paintings encircled by a spirited art-historical Cliff Notes from Egypt to Florence. <hl> On the second floor the fabulous Cabinet of Art and Curiosities leads to even more often outstanding paintings – Baroque to Modernism – accompanied by an array of decorative objects, especially porcelains. <hl> 600 Main Street, Hartford, Conn., 860-278-2670, thewadsworth.org. (Smith)

★ Wadsworth Atheneum Museum of Art (ongoing) The skilled refurbishing of the Atheneum’s storied Morgan Memorial Building reveals as never before the museum’s splendors. The Great Hall is triple-hung with European paintings encircled by a spirited art-historical Cliff Notes from Egypt to Florence. On the second floor <hl> the fabulous Cabinet of Art and Curiosities <hl> leads to even more often outstanding paintings – Baroque to Modernism – accompanied by an array of decorative objects, especially porcelains. 600 Main Street, Hartford, Conn., 860-278-2670, thewadsworth.org. (Smith)


Question: How many batters were needed for Clayton Kershaw to break a record?

LOS ANGELES —  Clayton Kershaw went to the mound on Sunday needing to strike out six batters to reach 300 for the season, something no major league pitcher had done in 13 years. With the first round of the postseason against the Mets looming, he wasn’t going to stick around very long. Maybe a couple of innings or so, just enough to stay sharp, even if he didn’t remain long enough to get to 300. And yet he did get there, striking out seven San Diego Padres in just three and two-thirds innings, and getting two standing ovations from Dodgers fans along the way. In the end, he finished the 2015 regular season with a 16-7 record, a 2.13 E.R.A., a WHIP of 0.88 and a strikeout total of 301, a nice exclamation point for a pitcher who has already won three Cy Young Awards and a Most Valuable Player trophy.

Answer: six batters

<hl> LOS ANGELES — Clayton Kershaw went to the mound on Sunday needing to strike out six batters to reach 300 for the season, something no major league pitcher had done in 13 years. <hl> With the first round of the postseason against the Mets looming, he wasn’t going to stick around very long. Maybe a couple of innings or so, just enough to stay sharp, even if he didn’t remain long enough to get to 300. And yet he did get there, striking out seven San Diego Padres in just three and two-thirds innings, and getting two standing ovations from Dodgers fans along the way. In the end, he finished the 2015 regular season with a 16-7 record, a 2.13 E.R.A., a WHIP of 0.88 and a strikeout total of 301, a nice exclamation point for a pitcher who has already won three Cy Young Awards and a Most Valuable Player trophy.

LOS ANGELES — Clayton Kershaw went to the mound on Sunday needing to strike out <hl> six batters <hl> to reach 300 for the season, something no major league pitcher had done in 13 years. With the first round of the postseason against the Mets looming, he wasn’t going to stick around very long. Maybe a couple of innings or so, just enough to stay sharp, even if he didn’t remain long enough to get to 300. And yet he did get there, striking out seven San Diego Padres in just three and two-thirds innings, and getting two standing ovations from Dodgers fans along the way. In the end, he finished the 2015 regular season with a 16-7 record, a 2.13 E.R.A., a WHIP of 0.88 and a strikeout total of 301, a nice exclamation point for a pitcher who has already won three Cy Young Awards and a Most Valuable Player trophy.


Question: How long had it been since the record was broken before Clayton?

Answer: 13 years

<hl> LOS ANGELES — Clayton Kershaw went to the mound on Sunday needing to strike out six batters to reach 300 for the season, something no major league pitcher had done in 13 years . <hl> With the first round of the postseason against the Mets looming, he wasn’t going to stick around very long. Maybe a couple of innings or so, just enough to stay sharp, even if he didn’t remain long enough to get to 300. And yet he did get there, striking out seven San Diego Padres in just three and two-thirds innings, and getting two standing ovations from Dodgers fans along the way. In the end, he finished the 2015 regular season with a 16-7 record, a 2.13 E.R.A., a WHIP of 0.88 and a strikeout total of 301, a nice exclamation point for a pitcher who has already won three Cy Young Awards and a Most Valuable Player trophy.

LOS ANGELES — Clayton Kershaw went to the mound on Sunday needing to strike out six batters to reach 300 for the season, something no major league pitcher had done in <hl> 13 years <hl>. With the first round of the postseason against the Mets looming, he wasn’t going to stick around very long. Maybe a couple of innings or so, just enough to stay sharp, even if he didn’t remain long enough to get to 300. And yet he did get there, striking out seven San Diego Padres in just three and two-thirds innings, and getting two standing ovations from Dodgers fans along the way. In the end, he finished the 2015 regular season with a 16-7 record, a 2.13 E.R.A., a WHIP of 0.88 and a strikeout total of 301, a nice exclamation point for a pitcher who has already won three Cy Young Awards and a Most Valuable Player trophy.

LOS ANGELES — Clayton Kershaw went to the mound on Sunday needing to strike out six batters to reach 300 for the season, something no major league pitcher had done in <hl> 13 years <hl> .


Question: How long did it take Clayton to break the record?

Answer: three and two-thirds innings

LOS ANGELES — Clayton Kershaw went to the mound on Sunday needing to strike out six batters to reach 300 for the season, something no major league pitcher had done in 13 years. With the first round of the postseason against the Mets looming, he wasn’t going to stick around very long. Maybe a couple of innings or so, just enough to stay sharp, even if he didn’t remain long enough to get to 300. <hl> And yet he did get there, striking out seven San Diego Padres in just three and two-thirds innings , and getting two standing ovations from Dodgers fans along the way. <hl> In the end, he finished the 2015 regular season with a 16-7 record, a 2.13 E.R.A., a WHIP of 0.88 and a strikeout total of 301, a nice exclamation point for a pitcher who has already won three Cy Young Awards and a Most Valuable Player trophy.

LOS ANGELES — Clayton Kershaw went to the mound on Sunday needing to strike out six batters to reach 300 for the season, something no major league pitcher had done in 13 years. With the first round of the postseason against the Mets looming, he wasn’t going to stick around very long. Maybe a couple of innings or so, just enough to stay sharp, even if he didn’t remain long enough to get to 300. And yet he did get there, striking out seven San Diego Padres in just <hl> three and two-thirds innings <hl>, and getting two standing ovations from Dodgers fans along the way. In the end, he finished the 2015 regular season with a 16-7 record, a 2.13 E.R.A., a WHIP of 0.88 and a strikeout total of 301, a nice exclamation point for a pitcher who has already won three Cy Young Awards and a Most Valuable Player trophy.

And yet he did get there, striking out seven San Diego Padres in just <hl> three and two-thirds innings <hl> , and getting two standing ovations from Dodgers fans along the way.


Question: What team did he throw the pitches against to get to his record?

Answer: San Diego Padres

LOS ANGELES — Clayton Kershaw went to the mound on Sunday needing to strike out six batters to reach 300 for the season, something no major league pitcher had done in 13 years. With the first round of the postseason against the Mets looming, he wasn’t going to stick around very long. Maybe a couple of innings or so, just enough to stay sharp, even if he didn’t remain long enough to get to 300. <hl> And yet he did get there, striking out seven San Diego Padres in just three and two-thirds innings, and getting two standing ovations from Dodgers fans along the way. <hl> In the end, he finished the 2015 regular season with a 16-7 record, a 2.13 E.R.A., a WHIP of 0.88 and a strikeout total of 301, a nice exclamation point for a pitcher who has already won three Cy Young Awards and a Most Valuable Player trophy.

LOS ANGELES — Clayton Kershaw went to the mound on Sunday needing to strike out six batters to reach 300 for the season, something no major league pitcher had done in 13 years. With the first round of the postseason against the Mets looming, he wasn’t going to stick around very long. Maybe a couple of innings or so, just enough to stay sharp, even if he didn’t remain long enough to get to 300. And yet he did get there, striking out seven <hl> San Diego Padres <hl> in just three and two-thirds innings, and getting two standing ovations from Dodgers fans along the way. In the end, he finished the 2015 regular season with a 16-7 record, a 2.13 E.R.A., a WHIP of 0.88 and a strikeout total of 301, a nice exclamation point for a pitcher who has already won three Cy Young Awards and a Most Valuable Player trophy.


Question: When was the last time a pitcher got 300 strikeouts in a season for the Diamondbacks?

The last pitchers to get to 300 strikeouts in a season were Randy Johnson and Curt Schilling, who did it in 2002 as teammates on the Arizona Diamondbacks. The last Dodger to get to 300 was, not surprisingly, Sandy Koufax, who did it in 1963, 1965 and 1966. Like Koufax, Kershaw is a left-hander, and like Koufax, he seems to be carving out a Hall of Fame career. Kershaw also considers Koufax a friend. His accomplishment created another link with his Dodger predecessor, and when Kershaw spoke to reporters after Sunday’s game he did not try to diminish what he had achieved by getting to 300.

Answer: 2002

<hl> The last pitchers to get to 300 strikeouts in a season were Randy Johnson and Curt Schilling, who did it in 2002 as teammates on the Arizona Diamondbacks. <hl> The last Dodger to get to 300 was, not surprisingly, Sandy Koufax, who did it in 1963, 1965 and 1966. Like Koufax, Kershaw is a left-hander, and like Koufax, he seems to be carving out a Hall of Fame career. Kershaw also considers Koufax a friend. His accomplishment created another link with his Dodger predecessor, and when Kershaw spoke to reporters after Sunday’s game he did not try to diminish what he had achieved by getting to 300.

The last pitchers to get to 300 strikeouts in a season were Randy Johnson and Curt Schilling, who did it in <hl> 2002 <hl> as teammates on the Arizona Diamondbacks. The last Dodger to get to 300 was, not surprisingly, Sandy Koufax, who did it in 1963, 1965 and 1966. Like Koufax, Kershaw is a left-hander, and like Koufax, he seems to be carving out a Hall of Fame career. Kershaw also considers Koufax a friend. His accomplishment created another link with his Dodger predecessor, and when Kershaw spoke to reporters after Sunday’s game he did not try to diminish what he had achieved by getting to 300.


Question: What years did Sandy Koufax get 300 strikeouts in a season?

Answer: 1963, 1965 and 1966

The last pitchers to get to 300 strikeouts in a season were Randy Johnson and Curt Schilling, who did it in 2002 as teammates on the Arizona Diamondbacks. <hl> The last Dodger to get to 300 was, not surprisingly, Sandy Koufax, who did it in 1963, 1965 and 1966 . <hl> Like Koufax, Kershaw is a left-hander, and like Koufax, he seems to be carving out a Hall of Fame career. Kershaw also considers Koufax a friend. His accomplishment created another link with his Dodger predecessor, and when Kershaw spoke to reporters after Sunday’s game he did not try to diminish what he had achieved by getting to 300.

The last pitchers to get to 300 strikeouts in a season were Randy Johnson and Curt Schilling, who did it in 2002 as teammates on the Arizona Diamondbacks. The last Dodger to get to 300 was, not surprisingly, Sandy Koufax, who did it in <hl> 1963, 1965 and 1966 <hl>. Like Koufax, Kershaw is a left-hander, and like Koufax, he seems to be carving out a Hall of Fame career. Kershaw also considers Koufax a friend. His accomplishment created another link with his Dodger predecessor, and when Kershaw spoke to reporters after Sunday’s game he did not try to diminish what he had achieved by getting to 300.

The last Dodger to get to 300 was, not surprisingly, Sandy Koufax, who did it in <hl> 1963, 1965 and 1966 <hl> .


Question: Who are friends?

Answer: Kershaw also considers Koufax a friend.

The last pitchers to get to 300 strikeouts in a season were Randy Johnson and Curt Schilling, who did it in 2002 as teammates on the Arizona Diamondbacks. The last Dodger to get to 300 was, not surprisingly, Sandy Koufax, who did it in 1963, 1965 and 1966. Like Koufax, Kershaw is a left-hander, and like Koufax, he seems to be carving out a Hall of Fame career. <hl> Kershaw also considers Koufax a friend. His accomplishment created another link with his Dodger predecessor, and when Kershaw spoke to reporters after Sunday’s game he did not try to diminish what he had achieved by getting to 300. <hl>

The last pitchers to get to 300 strikeouts in a season were Randy Johnson and Curt Schilling, who did it in 2002 as teammates on the Arizona Diamondbacks. The last Dodger to get to 300 was, not surprisingly, Sandy Koufax, who did it in 1963, 1965 and 1966. Like Koufax, Kershaw is a left-hander, and like Koufax, he seems to be carving out a Hall of Fame career. <hl> Kershaw also considers Koufax a friend. <hl> His accomplishment created another link with his Dodger predecessor, and when Kershaw spoke to reporters after Sunday’s game he did not try to diminish what he had achieved by getting to 300.


Question: Who were the last pitchers to get 300 stirkouts before Kershaw?

Answer: Randy Johnson and Curt Schilling

<hl> The last pitchers to get to 300 strikeouts in a season were Randy Johnson and Curt Schilling , who did it in 2002 as teammates on the Arizona Diamondbacks. <hl> The last Dodger to get to 300 was, not surprisingly, Sandy Koufax, who did it in 1963, 1965 and 1966. Like Koufax, Kershaw is a left-hander, and like Koufax, he seems to be carving out a Hall of Fame career. Kershaw also considers Koufax a friend. His accomplishment created another link with his Dodger predecessor, and when Kershaw spoke to reporters after Sunday’s game he did not try to diminish what he had achieved by getting to 300.

The last pitchers to get to 300 strikeouts in a season were <hl> Randy Johnson and Curt Schilling <hl>, who did it in 2002 as teammates on the Arizona Diamondbacks. The last Dodger to get to 300 was, not surprisingly, Sandy Koufax, who did it in 1963, 1965 and 1966. Like Koufax, Kershaw is a left-hander, and like Koufax, he seems to be carving out a Hall of Fame career. Kershaw also considers Koufax a friend. His accomplishment created another link with his Dodger predecessor, and when Kershaw spoke to reporters after Sunday’s game he did not try to diminish what he had achieved by getting to 300.

The last pitchers to get to 300 strikeouts in a season were <hl> Randy Johnson and Curt Schilling <hl> , who did it in 2002 as teammates on the Arizona Diamondbacks.


Question: Who received the standing ovation?

“Going forward, we will have more security personnel inside,” he said, noting that the protester’s walk to the stage had been obscured by the standing ovation for Ms. Netrebko. “We will be extra careful to have personnel in all the strategic places where they need to be.” Mr. Torgovitsky said that he had tried to minimize the disruption he caused by waiting for the end of “Iolanta,” which he said he enjoyed. And he compared his actions with those of Mr. Putin, who he said had ignored international treaties in Ukraine and the Crimea. “I did just .001 percent of that,” he said. “I did ignore the feelings of Netrebko and Gergiev for sure, but basically hoping to bring this issue visibility and discussion.”

Answer: Ms. Netrebko

<hl> “Going forward, we will have more security personnel inside,” he said, noting that the protester’s walk to the stage had been obscured by the standing ovation for Ms. Netrebko . <hl> “We will be extra careful to have personnel in all the strategic places where they need to be.” Mr. Torgovitsky said that he had tried to minimize the disruption he caused by waiting for the end of “Iolanta,” which he said he enjoyed. And he compared his actions with those of Mr. Putin, who he said had ignored international treaties in Ukraine and the Crimea. “I did just .001 percent of that,” he said. “I did ignore the feelings of Netrebko and Gergiev for sure, but basically hoping to bring this issue visibility and discussion.”

“Going forward, we will have more security personnel inside,” he said, noting that the protester’s walk to the stage had been obscured by the standing ovation for <hl> Ms. Netrebko <hl>. “We will be extra careful to have personnel in all the strategic places where they need to be.” Mr. Torgovitsky said that he had tried to minimize the disruption he caused by waiting for the end of “Iolanta,” which he said he enjoyed. And he compared his actions with those of Mr. Putin, who he said had ignored international treaties in Ukraine and the Crimea. “I did just .001 percent of that,” he said. “I did ignore the feelings of Netrebko and Gergiev for sure, but basically hoping to bring this issue visibility and discussion.”

“Going forward, we will have more security personnel inside,” he said, noting that the protester’s walk to the stage had been obscured by the standing ovation for <hl> Ms. Netrebko <hl> .


Question: Who was trying to minimize the disruption?

Answer: Mr. Torgovitsky

“Going forward, we will have more security personnel inside,” he said, noting that the protester’s walk to the stage had been obscured by the standing ovation for Ms. Netrebko. <hl> “We will be extra careful to have personnel in all the strategic places where they need to be.” Mr. Torgovitsky said that he had tried to minimize the disruption he caused by waiting for the end of “Iolanta,” which he said he enjoyed. <hl> And he compared his actions with those of Mr. Putin, who he said had ignored international treaties in Ukraine and the Crimea. “I did just .001 percent of that,” he said. “I did ignore the feelings of Netrebko and Gergiev for sure, but basically hoping to bring this issue visibility and discussion.”

“Going forward, we will have more security personnel inside,” he said, noting that the protester’s walk to the stage had been obscured by the standing ovation for Ms. Netrebko. “We will be extra careful to have personnel in all the strategic places where they need to be.” <hl> Mr. Torgovitsky <hl> said that he had tried to minimize the disruption he caused by waiting for the end of “Iolanta,” which he said he enjoyed. And he compared his actions with those of Mr. Putin, who he said had ignored international treaties in Ukraine and the Crimea. “I did just .001 percent of that,” he said. “I did ignore the feelings of Netrebko and Gergiev for sure, but basically hoping to bring this issue visibility and discussion.”


Question: Mr. Torgovitsky compared his actions to who?

Answer: Mr. Putin

“Going forward, we will have more security personnel inside,” he said, noting that the protester’s walk to the stage had been obscured by the standing ovation for Ms. Netrebko. “We will be extra careful to have personnel in all the strategic places where they need to be.” Mr. Torgovitsky said that he had tried to minimize the disruption he caused by waiting for the end of “Iolanta,” which he said he enjoyed. <hl> And he compared his actions with those of Mr. Putin , who he said had ignored international treaties in Ukraine and the Crimea. <hl> “I did just .001 percent of that,” he said. “I did ignore the feelings of Netrebko and Gergiev for sure, but basically hoping to bring this issue visibility and discussion.”

“Going forward, we will have more security personnel inside,” he said, noting that the protester’s walk to the stage had been obscured by the standing ovation for Ms. Netrebko. “We will be extra careful to have personnel in all the strategic places where they need to be.” Mr. Torgovitsky said that he had tried to minimize the disruption he caused by waiting for the end of “Iolanta,” which he said he enjoyed. And he compared his actions with those of <hl> Mr. Putin <hl>, who he said had ignored international treaties in Ukraine and the Crimea. “I did just .001 percent of that,” he said. “I did ignore the feelings of Netrebko and Gergiev for sure, but basically hoping to bring this issue visibility and discussion.”

And he compared his actions with those of <hl> Mr. Putin <hl> , who he said had ignored international treaties in Ukraine and the Crimea.


Question: Who had their walk on to the stage covered up?

Answer: protester’s

<hl> “Going forward, we will have more security personnel inside,” he said, noting that the protester’s walk to the stage had been obscured by the standing ovation for Ms. Netrebko. <hl> “We will be extra careful to have personnel in all the strategic places where they need to be.” Mr. Torgovitsky said that he had tried to minimize the disruption he caused by waiting for the end of “Iolanta,” which he said he enjoyed. And he compared his actions with those of Mr. Putin, who he said had ignored international treaties in Ukraine and the Crimea. “I did just .001 percent of that,” he said. “I did ignore the feelings of Netrebko and Gergiev for sure, but basically hoping to bring this issue visibility and discussion.”

“Going forward, we will have more security personnel inside,” he said, noting that the <hl> protester’s <hl> walk to the stage had been obscured by the standing ovation for Ms. Netrebko. “We will be extra careful to have personnel in all the strategic places where they need to be.” Mr. Torgovitsky said that he had tried to minimize the disruption he caused by waiting for the end of “Iolanta,” which he said he enjoyed. And he compared his actions with those of Mr. Putin, who he said had ignored international treaties in Ukraine and the Crimea. “I did just .001 percent of that,” he said. “I did ignore the feelings of Netrebko and Gergiev for sure, but basically hoping to bring this issue visibility and discussion.”


Question: What kind of weather were New Yorkers subjected to this week?

For many New Yorkers this week, as the blizzard panic lifted from the city, the pressing culinary question on Tuesday was, “Now what do I do with all this Dinty Moore?” One answer was just to walk away, perhaps to find a table someplace where the snow outside maintained its fleeting Currier & Ives majesties. Why not? With Tavern on the Green shuttered because of the weather, scenic duty fell to the slight remove of the restaurants of the Time Warner Center at Columbus Circle, where the trees of Central Park displayed dustings of white thingamajigs suspended perilously above their inevitable future as unloved street slush. Quiet descended on the city, cocktails and Pat LaFrieda beef products descended on the polished black tables of the Stone Rose Lounge, and stranded tourists consoled themselves for having to spend an extra night in the world’s greatest city. Poor babies. IN THE SEATS At a tall table facing the fourth-floor windows, Noelle Galperin and Ernie Garcia, from Miami, shed no tears for the flight that was supposed to take them home earlier in the day. Ms. Galperin, 46, is a management consultant; Mr. Garcia, 38, runs a financial services company. Both are self-employed. Neither had pressing needs back home. “That’s the beauty of cellphones,” Ms. Galperin said. “We worked a little bit in the morning, took a conference call, and tomorrow we’ll do a little of that. As self-employed entrepreneurs we’re always working, but it’s not bad. We like it.” As for the weather, which scared away much of the usual bustle, Mr. Garcia said he was happy for a little winter. “It was nice to cool down,” he said. “We came from 80-degree weather, so this is a treat.”

Answer: blizzard

<hl> For many New Yorkers this week, as the blizzard panic lifted from the city, the pressing culinary question on Tuesday was, “Now what do I do with all this Dinty Moore?” <hl> One answer was just to walk away, perhaps to find a table someplace where the snow outside maintained its fleeting Currier & Ives majesties. Why not? With Tavern on the Green shuttered because of the weather, scenic duty fell to the slight remove of the restaurants of the Time Warner Center at Columbus Circle, where the trees of Central Park displayed dustings of white thingamajigs suspended perilously above their inevitable future as unloved street slush. Quiet descended on the city, cocktails and Pat LaFrieda beef products descended on the polished black tables of the Stone Rose Lounge, and stranded tourists consoled themselves for having to spend an extra night in the world’s greatest city. Poor babies. IN THE SEATS At a tall table facing the fourth-floor windows, Noelle Galperin and Ernie Garcia, from Miami, shed no tears for the flight that was supposed to take them home earlier in the day. Ms. Galperin, 46, is a management consultant; Mr. Garcia, 38, runs a financial services company. Both are self-employed. Neither had pressing needs back home. “That’s the beauty of cellphones,” Ms. Galperin said. “We worked a little bit in the morning, took a conference call, and tomorrow we’ll do a little of that. As self-employed entrepreneurs we’re always working, but it’s not bad. We like it.” As for the weather, which scared away much of the usual bustle, Mr. Garcia said he was happy for a little winter. “It was nice to cool down,” he said. “We came from 80-degree weather, so this is a treat.”

For many New Yorkers this week, as the <hl> blizzard <hl> panic lifted from the city, the pressing culinary question on Tuesday was, “Now what do I do with all this Dinty Moore?” One answer was just to walk away, perhaps to find a table someplace where the snow outside maintained its fleeting Currier & Ives majesties. Why not? With Tavern on the Green shuttered because of the weather, scenic duty fell to the slight remove of the restaurants of the Time Warner Center at Columbus Circle, where the trees of Central Park displayed dustings of white thingamajigs suspended perilously above their inevitable future as unloved street slush. Quiet descended on the city, cocktails and Pat LaFrieda beef products descended on the polished black tables of the Stone Rose Lounge, and stranded tourists consoled themselves for having to spend an extra night in the world’s greatest city. Poor babies. IN THE SEATS At a tall table facing the fourth-floor windows, Noelle Galperin and Ernie Garcia, from Miami, shed no tears for the flight that was supposed to take them home earlier in the day. Ms. Galperin, 46, is a management consultant; Mr. Garcia, 38, runs a financial services company. Both are self-employed. Neither had pressing needs back home. “That’s the beauty of cellphones,” Ms. Galperin said. “We worked a little bit in the morning, took a conference call, and tomorrow we’ll do a little of that. As self-employed entrepreneurs we’re always working, but it’s not bad. We like it.” As for the weather, which scared away much of the usual bustle, Mr. Garcia said he was happy for a little winter. “It was nice to cool down,” he said. “We came from 80-degree weather, so this is a treat.”


Question: What is one restaurant that was closed due to the inclement weather?

Answer: Tavern on the Green

For many New Yorkers this week, as the blizzard panic lifted from the city, the pressing culinary question on Tuesday was, “Now what do I do with all this Dinty Moore?” One answer was just to walk away, perhaps to find a table someplace where the snow outside maintained its fleeting Currier & Ives majesties. Why not? <hl> With Tavern on the Green shuttered because of the weather, scenic duty fell to the slight remove of the restaurants of the Time Warner Center at Columbus Circle, where the trees of Central Park displayed dustings of white thingamajigs suspended perilously above their inevitable future as unloved street slush. <hl> Quiet descended on the city, cocktails and Pat LaFrieda beef products descended on the polished black tables of the Stone Rose Lounge, and stranded tourists consoled themselves for having to spend an extra night in the world’s greatest city. Poor babies. IN THE SEATS At a tall table facing the fourth-floor windows, Noelle Galperin and Ernie Garcia, from Miami, shed no tears for the flight that was supposed to take them home earlier in the day. Ms. Galperin, 46, is a management consultant; Mr. Garcia, 38, runs a financial services company. Both are self-employed. Neither had pressing needs back home. “That’s the beauty of cellphones,” Ms. Galperin said. “We worked a little bit in the morning, took a conference call, and tomorrow we’ll do a little of that. As self-employed entrepreneurs we’re always working, but it’s not bad. We like it.” As for the weather, which scared away much of the usual bustle, Mr. Garcia said he was happy for a little winter. “It was nice to cool down,” he said. “We came from 80-degree weather, so this is a treat.”

For many New Yorkers this week, as the blizzard panic lifted from the city, the pressing culinary question on Tuesday was, “Now what do I do with all this Dinty Moore?” One answer was just to walk away, perhaps to find a table someplace where the snow outside maintained its fleeting Currier & Ives majesties. Why not? With <hl> Tavern on the Green <hl> shuttered because of the weather, scenic duty fell to the slight remove of the restaurants of the Time Warner Center at Columbus Circle, where the trees of Central Park displayed dustings of white thingamajigs suspended perilously above their inevitable future as unloved street slush. Quiet descended on the city, cocktails and Pat LaFrieda beef products descended on the polished black tables of the Stone Rose Lounge, and stranded tourists consoled themselves for having to spend an extra night in the world’s greatest city. Poor babies. IN THE SEATS At a tall table facing the fourth-floor windows, Noelle Galperin and Ernie Garcia, from Miami, shed no tears for the flight that was supposed to take them home earlier in the day. Ms. Galperin, 46, is a management consultant; Mr. Garcia, 38, runs a financial services company. Both are self-employed. Neither had pressing needs back home. “That’s the beauty of cellphones,” Ms. Galperin said. “We worked a little bit in the morning, took a conference call, and tomorrow we’ll do a little of that. As self-employed entrepreneurs we’re always working, but it’s not bad. We like it.” As for the weather, which scared away much of the usual bustle, Mr. Garcia said he was happy for a little winter. “It was nice to cool down,” he said. “We came from 80-degree weather, so this is a treat.”


Question: What are the names of two tourists who were stranded in New York during the blizzard?

Answer: Noelle Galperin and Ernie Garcia

For many New Yorkers this week, as the blizzard panic lifted from the city, the pressing culinary question on Tuesday was, “Now what do I do with all this Dinty Moore?” One answer was just to walk away, perhaps to find a table someplace where the snow outside maintained its fleeting Currier & Ives majesties. Why not? With Tavern on the Green shuttered because of the weather, scenic duty fell to the slight remove of the restaurants of the Time Warner Center at Columbus Circle, where the trees of Central Park displayed dustings of white thingamajigs suspended perilously above their inevitable future as unloved street slush. Quiet descended on the city, cocktails and Pat LaFrieda beef products descended on the polished black tables of the Stone Rose Lounge, and stranded tourists consoled themselves for having to spend an extra night in the world’s greatest city. Poor babies. IN THE SEATS <hl> At a tall table facing the fourth-floor windows, Noelle Galperin and Ernie Garcia , from Miami, shed no tears for the flight that was supposed to take them home earlier in the day. <hl> Ms. Galperin, 46, is a management consultant; Mr. Garcia, 38, runs a financial services company. Both are self-employed. Neither had pressing needs back home. “That’s the beauty of cellphones,” Ms. Galperin said. “We worked a little bit in the morning, took a conference call, and tomorrow we’ll do a little of that. As self-employed entrepreneurs we’re always working, but it’s not bad. We like it.” As for the weather, which scared away much of the usual bustle, Mr. Garcia said he was happy for a little winter. “It was nice to cool down,” he said. “We came from 80-degree weather, so this is a treat.”

For many New Yorkers this week, as the blizzard panic lifted from the city, the pressing culinary question on Tuesday was, “Now what do I do with all this Dinty Moore?” One answer was just to walk away, perhaps to find a table someplace where the snow outside maintained its fleeting Currier & Ives majesties. Why not? With Tavern on the Green shuttered because of the weather, scenic duty fell to the slight remove of the restaurants of the Time Warner Center at Columbus Circle, where the trees of Central Park displayed dustings of white thingamajigs suspended perilously above their inevitable future as unloved street slush. Quiet descended on the city, cocktails and Pat LaFrieda beef products descended on the polished black tables of the Stone Rose Lounge, and stranded tourists consoled themselves for having to spend an extra night in the world’s greatest city. Poor babies. IN THE SEATS At a tall table facing the fourth-floor windows, <hl> Noelle Galperin and Ernie Garcia <hl>, from Miami, shed no tears for the flight that was supposed to take them home earlier in the day. Ms. Galperin, 46, is a management consultant; Mr. Garcia, 38, runs a financial services company. Both are self-employed. Neither had pressing needs back home. “That’s the beauty of cellphones,” Ms. Galperin said. “We worked a little bit in the morning, took a conference call, and tomorrow we’ll do a little of that. As self-employed entrepreneurs we’re always working, but it’s not bad. We like it.” As for the weather, which scared away much of the usual bustle, Mr. Garcia said he was happy for a little winter. “It was nice to cool down,” he said. “We came from 80-degree weather, so this is a treat.”

At a tall table facing the fourth-floor windows, <hl> Noelle Galperin and Ernie Garcia <hl> , from Miami, shed no tears for the flight that was supposed to take them home earlier in the day.


Question: How do these tourists describe their employment status?

Answer: self-employed

Both are self-employed .

For many New Yorkers this week, as the blizzard panic lifted from the city, the pressing culinary question on Tuesday was, “Now what do I do with all this Dinty Moore?” One answer was just to walk away, perhaps to find a table someplace where the snow outside maintained its fleeting Currier & Ives majesties. Why not? With Tavern on the Green shuttered because of the weather, scenic duty fell to the slight remove of the restaurants of the Time Warner Center at Columbus Circle, where the trees of Central Park displayed dustings of white thingamajigs suspended perilously above their inevitable future as unloved street slush. Quiet descended on the city, cocktails and Pat LaFrieda beef products descended on the polished black tables of the Stone Rose Lounge, and stranded tourists consoled themselves for having to spend an extra night in the world’s greatest city. Poor babies. IN THE SEATS At a tall table facing the fourth-floor windows, Noelle Galperin and Ernie Garcia, from Miami, shed no tears for the flight that was supposed to take them home earlier in the day. Ms. Galperin, 46, is a management consultant; Mr. Garcia, 38, runs a financial services company. <hl> Both are self-employed . <hl> Neither had pressing needs back home. “That’s the beauty of cellphones,” Ms. Galperin said. “We worked a little bit in the morning, took a conference call, and tomorrow we’ll do a little of that. As self-employed entrepreneurs we’re always working, but it’s not bad. We like it.” As for the weather, which scared away much of the usual bustle, Mr. Garcia said he was happy for a little winter. “It was nice to cool down,” he said. “We came from 80-degree weather, so this is a treat.”

For many New Yorkers this week, as the blizzard panic lifted from the city, the pressing culinary question on Tuesday was, “Now what do I do with all this Dinty Moore?” One answer was just to walk away, perhaps to find a table someplace where the snow outside maintained its fleeting Currier & Ives majesties. Why not? With Tavern on the Green shuttered because of the weather, scenic duty fell to the slight remove of the restaurants of the Time Warner Center at Columbus Circle, where the trees of Central Park displayed dustings of white thingamajigs suspended perilously above their inevitable future as unloved street slush. Quiet descended on the city, cocktails and Pat LaFrieda beef products descended on the polished black tables of the Stone Rose Lounge, and stranded tourists consoled themselves for having to spend an extra night in the world’s greatest city. Poor babies. IN THE SEATS At a tall table facing the fourth-floor windows, Noelle Galperin and Ernie Garcia, from Miami, shed no tears for the flight that was supposed to take them home earlier in the day. Ms. Galperin, 46, is a management consultant; Mr. Garcia, 38, runs a financial services company. Both are <hl> self-employed <hl>. Neither had pressing needs back home. “That’s the beauty of cellphones,” Ms. Galperin said. “We worked a little bit in the morning, took a conference call, and tomorrow we’ll do a little of that. As self-employed entrepreneurs we’re always working, but it’s not bad. We like it.” As for the weather, which scared away much of the usual bustle, Mr. Garcia said he was happy for a little winter. “It was nice to cool down,” he said. “We came from 80-degree weather, so this is a treat.”


Question: How did Mr. Garcia describe his feelings about the weather?

Answer: he was happy for a little winter

For many New Yorkers this week, as the blizzard panic lifted from the city, the pressing culinary question on Tuesday was, “Now what do I do with all this Dinty Moore?” One answer was just to walk away, perhaps to find a table someplace where the snow outside maintained its fleeting Currier & Ives majesties. Why not? With Tavern on the Green shuttered because of the weather, scenic duty fell to the slight remove of the restaurants of the Time Warner Center at Columbus Circle, where the trees of Central Park displayed dustings of white thingamajigs suspended perilously above their inevitable future as unloved street slush. Quiet descended on the city, cocktails and Pat LaFrieda beef products descended on the polished black tables of the Stone Rose Lounge, and stranded tourists consoled themselves for having to spend an extra night in the world’s greatest city. Poor babies. IN THE SEATS At a tall table facing the fourth-floor windows, Noelle Galperin and Ernie Garcia, from Miami, shed no tears for the flight that was supposed to take them home earlier in the day. Ms. Galperin, 46, is a management consultant; Mr. Garcia, 38, runs a financial services company. Both are self-employed. Neither had pressing needs back home. “That’s the beauty of cellphones,” Ms. Galperin said. “We worked a little bit in the morning, took a conference call, and tomorrow we’ll do a little of that. As self-employed entrepreneurs we’re always working, but it’s not bad. We like it.” <hl> As for the weather, which scared away much of the usual bustle, Mr. Garcia said he was happy for a little winter . <hl> “It was nice to cool down,” he said. “We came from 80-degree weather, so this is a treat.”

For many New Yorkers this week, as the blizzard panic lifted from the city, the pressing culinary question on Tuesday was, “Now what do I do with all this Dinty Moore?” One answer was just to walk away, perhaps to find a table someplace where the snow outside maintained its fleeting Currier & Ives majesties. Why not? With Tavern on the Green shuttered because of the weather, scenic duty fell to the slight remove of the restaurants of the Time Warner Center at Columbus Circle, where the trees of Central Park displayed dustings of white thingamajigs suspended perilously above their inevitable future as unloved street slush. Quiet descended on the city, cocktails and Pat LaFrieda beef products descended on the polished black tables of the Stone Rose Lounge, and stranded tourists consoled themselves for having to spend an extra night in the world’s greatest city. Poor babies. IN THE SEATS At a tall table facing the fourth-floor windows, Noelle Galperin and Ernie Garcia, from Miami, shed no tears for the flight that was supposed to take them home earlier in the day. Ms. Galperin, 46, is a management consultant; Mr. Garcia, 38, runs a financial services company. Both are self-employed. Neither had pressing needs back home. “That’s the beauty of cellphones,” Ms. Galperin said. “We worked a little bit in the morning, took a conference call, and tomorrow we’ll do a little of that. As self-employed entrepreneurs we’re always working, but it’s not bad. We like it.” As for the weather, which scared away much of the usual bustle, Mr. Garcia said <hl> he was happy for a little winter <hl>. “It was nice to cool down,” he said. “We came from 80-degree weather, so this is a treat.”

As for the weather, which scared away much of the usual bustle, Mr. Garcia said <hl> he was happy for a little winter <hl> .


Question: Where did the tourists eat brunch on Sunday?

“We got to eat at the Boathouse for Sunday brunch, and we really enjoyed that, so we were talking about doing the more touristy things,” she said. “It’s nice to come back and have more of an excuse to do the touristy things.” Mr. Garcia said he was neither relieved nor disappointed by the blizzard’s last-minute zag to the east. “I’m indifferent,” he said. “It was nice weather. I enjoyed it. I was out till midnight walking Monday night — had a late dinner at Quality Meats and walked around. So it was great. We’re used to the hype in Miami, with the hurricanes. I guess it’s terrible if you have to run a business, but for us it didn’t affect us.”

Answer: the Boathouse

<hl> “We got to eat at the Boathouse for Sunday brunch, and we really enjoyed that, so we were talking about doing the more touristy things,” she said. <hl> “It’s nice to come back and have more of an excuse to do the touristy things.” Mr. Garcia said he was neither relieved nor disappointed by the blizzard’s last-minute zag to the east. “I’m indifferent,” he said. “It was nice weather. I enjoyed it. I was out till midnight walking Monday night — had a late dinner at Quality Meats and walked around. So it was great. We’re used to the hype in Miami, with the hurricanes. I guess it’s terrible if you have to run a business, but for us it didn’t affect us.”

“We got to eat at <hl> the Boathouse <hl> for Sunday brunch, and we really enjoyed that, so we were talking about doing the more touristy things,” she said. “It’s nice to come back and have more of an excuse to do the touristy things.” Mr. Garcia said he was neither relieved nor disappointed by the blizzard’s last-minute zag to the east. “I’m indifferent,” he said. “It was nice weather. I enjoyed it. I was out till midnight walking Monday night — had a late dinner at Quality Meats and walked around. So it was great. We’re used to the hype in Miami, with the hurricanes. I guess it’s terrible if you have to run a business, but for us it didn’t affect us.”


Question: How did the tourists feel about the blizzard?

Answer: neither relieved nor disappointed

“We got to eat at the Boathouse for Sunday brunch, and we really enjoyed that, so we were talking about doing the more touristy things,” she said. “It’s nice to come back and have more of an excuse to do the touristy things.” <hl> Mr. Garcia said he was neither relieved nor disappointed by the blizzard’s last-minute zag to the east. <hl> “I’m indifferent,” he said. “It was nice weather. I enjoyed it. I was out till midnight walking Monday night — had a late dinner at Quality Meats and walked around. So it was great. We’re used to the hype in Miami, with the hurricanes. I guess it’s terrible if you have to run a business, but for us it didn’t affect us.”

“We got to eat at the Boathouse for Sunday brunch, and we really enjoyed that, so we were talking about doing the more touristy things,” she said. “It’s nice to come back and have more of an excuse to do the touristy things.” Mr. Garcia said he was <hl> neither relieved nor disappointed <hl> by the blizzard’s last-minute zag to the east. “I’m indifferent,” he said. “It was nice weather. I enjoyed it. I was out till midnight walking Monday night — had a late dinner at Quality Meats and walked around. So it was great. We’re used to the hype in Miami, with the hurricanes. I guess it’s terrible if you have to run a business, but for us it didn’t affect us.”


Question: What kind of activities are the tourists content with doing while in the city?

Answer: touristy things.

“We got to eat at the Boathouse for Sunday brunch, and we really enjoyed that, so we were talking about doing the more touristy things,” she said. <hl> “It’s nice to come back and have more of an excuse to do the touristy things. ” Mr. Garcia said he was neither relieved nor disappointed by the blizzard’s last-minute zag to the east. <hl> “I’m indifferent,” he said. “It was nice weather. I enjoyed it. I was out till midnight walking Monday night — had a late dinner at Quality Meats and walked around. So it was great. We’re used to the hype in Miami, with the hurricanes. I guess it’s terrible if you have to run a business, but for us it didn’t affect us.”

“We got to eat at the Boathouse for Sunday brunch, and we really enjoyed that, so we were talking about doing the more touristy things,” she said. “It’s nice to come back and have more of an excuse to do the <hl> touristy things. <hl>” Mr. Garcia said he was neither relieved nor disappointed by the blizzard’s last-minute zag to the east. “I’m indifferent,” he said. “It was nice weather. I enjoyed it. I was out till midnight walking Monday night — had a late dinner at Quality Meats and walked around. So it was great. We’re used to the hype in Miami, with the hurricanes. I guess it’s terrible if you have to run a business, but for us it didn’t affect us.”

“It’s nice to come back and have more of an excuse to do the <hl> touristy things. <hl> ” Mr. Garcia said he was neither relieved nor disappointed by the blizzard’s last-minute zag to the east.


Question: What did Mr. Garcia do before taking a walk Monday night?

Answer: had a late dinner at Quality Meats

“We got to eat at the Boathouse for Sunday brunch, and we really enjoyed that, so we were talking about doing the more touristy things,” she said. “It’s nice to come back and have more of an excuse to do the touristy things.” Mr. Garcia said he was neither relieved nor disappointed by the blizzard’s last-minute zag to the east. “I’m indifferent,” he said. “It was nice weather. I enjoyed it. <hl> I was out till midnight walking Monday night — had a late dinner at Quality Meats and walked around. <hl> So it was great. We’re used to the hype in Miami, with the hurricanes. I guess it’s terrible if you have to run a business, but for us it didn’t affect us.”

“We got to eat at the Boathouse for Sunday brunch, and we really enjoyed that, so we were talking about doing the more touristy things,” she said. “It’s nice to come back and have more of an excuse to do the touristy things.” Mr. Garcia said he was neither relieved nor disappointed by the blizzard’s last-minute zag to the east. “I’m indifferent,” he said. “It was nice weather. I enjoyed it. I was out till midnight walking Monday night — <hl> had a late dinner at Quality Meats <hl> and walked around. So it was great. We’re used to the hype in Miami, with the hurricanes. I guess it’s terrible if you have to run a business, but for us it didn’t affect us.”


Question: What other extreme weather condition are the tourists familiar with?

Answer: hurricanes

“We got to eat at the Boathouse for Sunday brunch, and we really enjoyed that, so we were talking about doing the more touristy things,” she said. “It’s nice to come back and have more of an excuse to do the touristy things.” Mr. Garcia said he was neither relieved nor disappointed by the blizzard’s last-minute zag to the east. “I’m indifferent,” he said. “It was nice weather. I enjoyed it. I was out till midnight walking Monday night — had a late dinner at Quality Meats and walked around. So it was great. <hl> We’re used to the hype in Miami, with the hurricanes . <hl> I guess it’s terrible if you have to run a business, but for us it didn’t affect us.”

“We got to eat at the Boathouse for Sunday brunch, and we really enjoyed that, so we were talking about doing the more touristy things,” she said. “It’s nice to come back and have more of an excuse to do the touristy things.” Mr. Garcia said he was neither relieved nor disappointed by the blizzard’s last-minute zag to the east. “I’m indifferent,” he said. “It was nice weather. I enjoyed it. I was out till midnight walking Monday night — had a late dinner at Quality Meats and walked around. So it was great. We’re used to the hype in Miami, with the <hl> hurricanes <hl>. I guess it’s terrible if you have to run a business, but for us it didn’t affect us.”

We’re used to the hype in Miami, with the <hl> hurricanes <hl> .


Question: Who sued?

Mr. Robins sued under a part of the credit law that provides damages of up to $1,000 without proof of direct harm, and he sought to represent a class of people with similar claims. Spokeo responded that Congress did not have the power to create a legal right to sue for plaintiffs who have suffered no direct and concrete injuries. The United States Court of Appeals for the Ninth Circuit last year disagreed. “A plaintiff can suffer a violation of the statutory right without suffering actual damages,” a unanimous three-judge panel ruled.

Answer: Mr. Robins

<hl> Mr. Robins sued under a part of the credit law that provides damages of up to $1,000 without proof of direct harm, and he sought to represent a class of people with similar claims. <hl> Spokeo responded that Congress did not have the power to create a legal right to sue for plaintiffs who have suffered no direct and concrete injuries. The United States Court of Appeals for the Ninth Circuit last year disagreed. “A plaintiff can suffer a violation of the statutory right without suffering actual damages,” a unanimous three-judge panel ruled.

<hl> Mr. Robins <hl> sued under a part of the credit law that provides damages of up to $1,000 without proof of direct harm, and he sought to represent a class of people with similar claims. Spokeo responded that Congress did not have the power to create a legal right to sue for plaintiffs who have suffered no direct and concrete injuries. The United States Court of Appeals for the Ninth Circuit last year disagreed. “A plaintiff can suffer a violation of the statutory right without suffering actual damages,” a unanimous three-judge panel ruled.


Question: Who did Mr. Robins represent?

Answer: a class of people with similar claims

<hl> Mr. Robins sued under a part of the credit law that provides damages of up to $1,000 without proof of direct harm, and he sought to represent a class of people with similar claims . <hl> Spokeo responded that Congress did not have the power to create a legal right to sue for plaintiffs who have suffered no direct and concrete injuries. The United States Court of Appeals for the Ninth Circuit last year disagreed. “A plaintiff can suffer a violation of the statutory right without suffering actual damages,” a unanimous three-judge panel ruled.

Mr. Robins sued under a part of the credit law that provides damages of up to $1,000 without proof of direct harm, and he sought to represent <hl> a class of people with similar claims <hl>. Spokeo responded that Congress did not have the power to create a legal right to sue for plaintiffs who have suffered no direct and concrete injuries. The United States Court of Appeals for the Ninth Circuit last year disagreed. “A plaintiff can suffer a violation of the statutory right without suffering actual damages,” a unanimous three-judge panel ruled.

Mr. Robins sued under a part of the credit law that provides damages of up to $1,000 without proof of direct harm, and he sought to represent <hl> a class of people with similar claims <hl> .


Question: Who responded about Congress?

Answer: Spokeo

Mr. Robins sued under a part of the credit law that provides damages of up to $1,000 without proof of direct harm, and he sought to represent a class of people with similar claims. <hl> Spokeo responded that Congress did not have the power to create a legal right to sue for plaintiffs who have suffered no direct and concrete injuries. <hl> The United States Court of Appeals for the Ninth Circuit last year disagreed. “A plaintiff can suffer a violation of the statutory right without suffering actual damages,” a unanimous three-judge panel ruled.

Mr. Robins sued under a part of the credit law that provides damages of up to $1,000 without proof of direct harm, and he sought to represent a class of people with similar claims. <hl> Spokeo <hl> responded that Congress did not have the power to create a legal right to sue for plaintiffs who have suffered no direct and concrete injuries. The United States Court of Appeals for the Ninth Circuit last year disagreed. “A plaintiff can suffer a violation of the statutory right without suffering actual damages,” a unanimous three-judge panel ruled.


Question: What kind of plaintiffs were talked about?

Answer: who have suffered no direct and concrete injuries

Mr. Robins sued under a part of the credit law that provides damages of up to $1,000 without proof of direct harm, and he sought to represent a class of people with similar claims. <hl> Spokeo responded that Congress did not have the power to create a legal right to sue for plaintiffs who have suffered no direct and concrete injuries . <hl> The United States Court of Appeals for the Ninth Circuit last year disagreed. “A plaintiff can suffer a violation of the statutory right without suffering actual damages,” a unanimous three-judge panel ruled.

Mr. Robins sued under a part of the credit law that provides damages of up to $1,000 without proof of direct harm, and he sought to represent a class of people with similar claims. Spokeo responded that Congress did not have the power to create a legal right to sue for plaintiffs <hl> who have suffered no direct and concrete injuries <hl>. The United States Court of Appeals for the Ninth Circuit last year disagreed. “A plaintiff can suffer a violation of the statutory right without suffering actual damages,” a unanimous three-judge panel ruled.

Spokeo responded that Congress did not have the power to create a legal right to sue for plaintiffs <hl> who have suffered no direct and concrete injuries <hl> .


Question: What was the number of the circuit in which the court disagreed?

Answer: Ninth

Mr. Robins sued under a part of the credit law that provides damages of up to $1,000 without proof of direct harm, and he sought to represent a class of people with similar claims. Spokeo responded that Congress did not have the power to create a legal right to sue for plaintiffs who have suffered no direct and concrete injuries. <hl> The United States Court of Appeals for the Ninth Circuit last year disagreed. <hl> “A plaintiff can suffer a violation of the statutory right without suffering actual damages,” a unanimous three-judge panel ruled.

Mr. Robins sued under a part of the credit law that provides damages of up to $1,000 without proof of direct harm, and he sought to represent a class of people with similar claims. Spokeo responded that Congress did not have the power to create a legal right to sue for plaintiffs who have suffered no direct and concrete injuries. The United States Court of Appeals for the <hl> Ninth <hl> Circuit last year disagreed. “A plaintiff can suffer a violation of the statutory right without suffering actual damages,” a unanimous three-judge panel ruled.


Question: Who is a lawyer for Spokeo?

Justice Kagan said that false statements may be damage enough. “Why isn’t the dissemination of false information about you in a credit report,” she asked, “perfectly sufficient if Congress says that’s a concrete injury?” Andrew J. Pincus, a lawyer for Spokeo, said suits should be allowed only if plaintiffs can show the concrete injury generally required to establish standing to sue. He gave two examples: harm to credit or a missed job opportunity. Justice Kagan responded that people almost never know why a bank or potential employer turned them down. “I mean,” she said, “it’s actually the quintessential kind of injury that you will never be able to detect and surely not to prove.”

Answer: Andrew J. Pincus

Justice Kagan said that false statements may be damage enough. <hl> “Why isn’t the dissemination of false information about you in a credit report,” she asked, “perfectly sufficient if Congress says that’s a concrete injury?” Andrew J. Pincus , a lawyer for Spokeo, said suits should be allowed only if plaintiffs can show the concrete injury generally required to establish standing to sue. <hl> He gave two examples: harm to credit or a missed job opportunity. Justice Kagan responded that people almost never know why a bank or potential employer turned them down. “I mean,” she said, “it’s actually the quintessential kind of injury that you will never be able to detect and surely not to prove.”

Justice Kagan said that false statements may be damage enough. “Why isn’t the dissemination of false information about you in a credit report,” she asked, “perfectly sufficient if Congress says that’s a concrete injury?” <hl> Andrew J. Pincus <hl>, a lawyer for Spokeo, said suits should be allowed only if plaintiffs can show the concrete injury generally required to establish standing to sue. He gave two examples: harm to credit or a missed job opportunity. Justice Kagan responded that people almost never know why a bank or potential employer turned them down. “I mean,” she said, “it’s actually the quintessential kind of injury that you will never be able to detect and surely not to prove.”

“Why isn’t the dissemination of false information about you in a credit report,” she asked, “perfectly sufficient if Congress says that’s a concrete injury?” <hl> Andrew J. Pincus <hl> , a lawyer for Spokeo, said suits should be allowed only if plaintiffs can show the concrete injury generally required to establish standing to sue.


Question: What did Justice Kagan ask?

Answer: “Why isn’t the dissemination of false information about you in a credit report,”

Justice Kagan said that false statements may be damage enough. <hl> “Why isn’t the dissemination of false information about you in a credit report,” she asked, “perfectly sufficient if Congress says that’s a concrete injury?” <hl> Andrew J. Pincus, a lawyer for Spokeo, said suits should be allowed only if plaintiffs can show the concrete injury generally required to establish standing to sue. He gave two examples: harm to credit or a missed job opportunity. Justice Kagan responded that people almost never know why a bank or potential employer turned them down. “I mean,” she said, “it’s actually the quintessential kind of injury that you will never be able to detect and surely not to prove.”

Justice Kagan said that false statements may be damage enough. <hl> “Why isn’t the dissemination of false information about you in a credit report,” <hl> she asked, “perfectly sufficient if Congress says that’s a concrete injury?” Andrew J. Pincus, a lawyer for Spokeo, said suits should be allowed only if plaintiffs can show the concrete injury generally required to establish standing to sue. He gave two examples: harm to credit or a missed job opportunity. Justice Kagan responded that people almost never know why a bank or potential employer turned them down. “I mean,” she said, “it’s actually the quintessential kind of injury that you will never be able to detect and surely not to prove.”


Question: What kind of statements did Justice Kagan say that may be damaging enough?

Answer: false statements

<hl> Justice Kagan said that false statements may be damage enough. <hl> “Why isn’t the dissemination of false information about you in a credit report,” she asked, “perfectly sufficient if Congress says that’s a concrete injury?” Andrew J. Pincus, a lawyer for Spokeo, said suits should be allowed only if plaintiffs can show the concrete injury generally required to establish standing to sue. He gave two examples: harm to credit or a missed job opportunity. Justice Kagan responded that people almost never know why a bank or potential employer turned them down. “I mean,” she said, “it’s actually the quintessential kind of injury that you will never be able to detect and surely not to prove.”

Justice Kagan said that <hl> false statements <hl> may be damage enough. “Why isn’t the dissemination of false information about you in a credit report,” she asked, “perfectly sufficient if Congress says that’s a concrete injury?” Andrew J. Pincus, a lawyer for Spokeo, said suits should be allowed only if plaintiffs can show the concrete injury generally required to establish standing to sue. He gave two examples: harm to credit or a missed job opportunity. Justice Kagan responded that people almost never know why a bank or potential employer turned them down. “I mean,” she said, “it’s actually the quintessential kind of injury that you will never be able to detect and surely not to prove.”


Question: According to Pincus, when should suits be allowed?

Answer: if plaintiffs can show the concrete injury generally required to establish standing to sue

Justice Kagan said that false statements may be damage enough. “Why isn’t the dissemination of false information about you in a credit report,” she asked, “perfectly sufficient if Congress says that’s a concrete injury?” <hl> Andrew J. Pincus, a lawyer for Spokeo, said suits should be allowed only if plaintiffs can show the concrete injury generally required to establish standing to sue . <hl> He gave two examples: harm to credit or a missed job opportunity. Justice Kagan responded that people almost never know why a bank or potential employer turned them down. “I mean,” she said, “it’s actually the quintessential kind of injury that you will never be able to detect and surely not to prove.”

Justice Kagan said that false statements may be damage enough. “Why isn’t the dissemination of false information about you in a credit report,” she asked, “perfectly sufficient if Congress says that’s a concrete injury?” Andrew J. Pincus, a lawyer for Spokeo, said suits should be allowed only <hl> if plaintiffs can show the concrete injury generally required to establish standing to sue <hl>. He gave two examples: harm to credit or a missed job opportunity. Justice Kagan responded that people almost never know why a bank or potential employer turned them down. “I mean,” she said, “it’s actually the quintessential kind of injury that you will never be able to detect and surely not to prove.”

Andrew J. Pincus, a lawyer for Spokeo, said suits should be allowed only <hl> if plaintiffs can show the concrete injury generally required to establish standing to sue <hl> .


Question: What are the two examples that the lawyer gave?

Answer: harm to credit or a missed job opportunity

Justice Kagan said that false statements may be damage enough. “Why isn’t the dissemination of false information about you in a credit report,” she asked, “perfectly sufficient if Congress says that’s a concrete injury?” Andrew J. Pincus, a lawyer for Spokeo, said suits should be allowed only if plaintiffs can show the concrete injury generally required to establish standing to sue. <hl> He gave two examples: harm to credit or a missed job opportunity . <hl> Justice Kagan responded that people almost never know why a bank or potential employer turned them down. “I mean,” she said, “it’s actually the quintessential kind of injury that you will never be able to detect and surely not to prove.”

Justice Kagan said that false statements may be damage enough. “Why isn’t the dissemination of false information about you in a credit report,” she asked, “perfectly sufficient if Congress says that’s a concrete injury?” Andrew J. Pincus, a lawyer for Spokeo, said suits should be allowed only if plaintiffs can show the concrete injury generally required to establish standing to sue. He gave two examples: <hl> harm to credit or a missed job opportunity <hl>. Justice Kagan responded that people almost never know why a bank or potential employer turned them down. “I mean,” she said, “it’s actually the quintessential kind of injury that you will never be able to detect and surely not to prove.”

He gave two examples: <hl> harm to credit or a missed job opportunity <hl> .


Question: What team shot well and controlled the scoreboard?

St. John’s did what it had not been doing most of the season — shoot well and control the boards — and the Red Storm delighted the Madison Square Garden crowd in beating Syracuse, 84-72. The matchup on Sunday was the programs’ first since Jan. 19, 1977, in which Jim Boeheim was not coaching the Orange, a span of 63 games. This was the third game of his nine-game N.C.A.A. ban. The freshman Federico Mussini had 17 points, and four other players scored in double figures for the Red Storm (7-3), who won their third straight. The Orange had won nine of the previous 10 meetings; they lead the series by 51-39. St. John’s had not beaten Syracuse at the Garden since 2007. “This was the best win of my life in the world’s most famous arena,” Mussini said. “Nothing better than this.” Michael Gbinije’s 21 points led Syracuse (7-3), which has lost three of four. The Red Storm shot 30 of 61, including 12 of 24 from 3-point range, well above their season averages. Syracuse shot 5 of 26 from beyond the arc.

Answer: St. John’s

<hl> St. John’s did what it had not been doing most of the season — shoot well and control the boards — and the Red Storm delighted the Madison Square Garden crowd in beating Syracuse, 84-72. <hl> The matchup on Sunday was the programs’ first since Jan. 19, 1977, in which Jim Boeheim was not coaching the Orange, a span of 63 games. This was the third game of his nine-game N.C.A.A. ban. The freshman Federico Mussini had 17 points, and four other players scored in double figures for the Red Storm (7-3), who won their third straight. The Orange had won nine of the previous 10 meetings; they lead the series by 51-39. St. John’s had not beaten Syracuse at the Garden since 2007. “This was the best win of my life in the world’s most famous arena,” Mussini said. “Nothing better than this.” Michael Gbinije’s 21 points led Syracuse (7-3), which has lost three of four. The Red Storm shot 30 of 61, including 12 of 24 from 3-point range, well above their season averages. Syracuse shot 5 of 26 from beyond the arc.

<hl> St. John’s <hl> did what it had not been doing most of the season — shoot well and control the boards — and the Red Storm delighted the Madison Square Garden crowd in beating Syracuse, 84-72. The matchup on Sunday was the programs’ first since Jan. 19, 1977, in which Jim Boeheim was not coaching the Orange, a span of 63 games. This was the third game of his nine-game N.C.A.A. ban. The freshman Federico Mussini had 17 points, and four other players scored in double figures for the Red Storm (7-3), who won their third straight. The Orange had won nine of the previous 10 meetings; they lead the series by 51-39. St. John’s had not beaten Syracuse at the Garden since 2007. “This was the best win of my life in the world’s most famous arena,” Mussini said. “Nothing better than this.” Michael Gbinije’s 21 points led Syracuse (7-3), which has lost three of four. The Red Storm shot 30 of 61, including 12 of 24 from 3-point range, well above their season averages. Syracuse shot 5 of 26 from beyond the arc.