Question: What team was Syndergaard pitching against?

Syndergaard then gave the type of performance that defines a player’s season, the kind that can instill confidence in a rookie and propel him to new heights. He suffocated the Dodgers, holding them to two hits and one run in six innings. He pitched even with Kershaw, perhaps even better, and gave the Mets’ porous offense the chance to squeak out a 2-1 win. Syndergaard pitched so well that, afterward, a reporter asked him if this start had stamped him as one of the best young pitchers in baseball, and he did not scoff at the question. “I hope so,” Syndergaard said. “But, I mean, I certainly don’t think I’m there yet to carry the name as Clayton Kershaw does. But hopefully I’ll get there.”

Answer: Dodgers

Syndergaard then gave the type of performance that defines a player’s season, the kind that can instill confidence in a rookie and propel him to new heights. <hl> He suffocated the Dodgers , holding them to two hits and one run in six innings. <hl> He pitched even with Kershaw, perhaps even better, and gave the Mets’ porous offense the chance to squeak out a 2-1 win. Syndergaard pitched so well that, afterward, a reporter asked him if this start had stamped him as one of the best young pitchers in baseball, and he did not scoff at the question. “I hope so,” Syndergaard said. “But, I mean, I certainly don’t think I’m there yet to carry the name as Clayton Kershaw does. But hopefully I’ll get there.”

Syndergaard then gave the type of performance that defines a player’s season, the kind that can instill confidence in a rookie and propel him to new heights. He suffocated the <hl> Dodgers <hl>, holding them to two hits and one run in six innings. He pitched even with Kershaw, perhaps even better, and gave the Mets’ porous offense the chance to squeak out a 2-1 win. Syndergaard pitched so well that, afterward, a reporter asked him if this start had stamped him as one of the best young pitchers in baseball, and he did not scoff at the question. “I hope so,” Syndergaard said. “But, I mean, I certainly don’t think I’m there yet to carry the name as Clayton Kershaw does. But hopefully I’ll get there.”

He suffocated the <hl> Dodgers <hl> , holding them to two hits and one run in six innings.


Question: Who was pitching for the opposite team?

Answer: Clayton Kershaw

Syndergaard then gave the type of performance that defines a player’s season, the kind that can instill confidence in a rookie and propel him to new heights. He suffocated the Dodgers, holding them to two hits and one run in six innings. He pitched even with Kershaw, perhaps even better, and gave the Mets’ porous offense the chance to squeak out a 2-1 win. Syndergaard pitched so well that, afterward, a reporter asked him if this start had stamped him as one of the best young pitchers in baseball, and he did not scoff at the question. “I hope so,” Syndergaard said. <hl> “But, I mean, I certainly don’t think I’m there yet to carry the name as Clayton Kershaw does. <hl> But hopefully I’ll get there.”

Syndergaard then gave the type of performance that defines a player’s season, the kind that can instill confidence in a rookie and propel him to new heights. He suffocated the Dodgers, holding them to two hits and one run in six innings. He pitched even with Kershaw, perhaps even better, and gave the Mets’ porous offense the chance to squeak out a 2-1 win. Syndergaard pitched so well that, afterward, a reporter asked him if this start had stamped him as one of the best young pitchers in baseball, and he did not scoff at the question. “I hope so,” Syndergaard said. “But, I mean, I certainly don’t think I’m there yet to carry the name as <hl> Clayton Kershaw <hl> does. But hopefully I’ll get there.”


Question: What was the final score of the game?

Answer: 2-1

Syndergaard then gave the type of performance that defines a player’s season, the kind that can instill confidence in a rookie and propel him to new heights. He suffocated the Dodgers, holding them to two hits and one run in six innings. <hl> He pitched even with Kershaw, perhaps even better, and gave the Mets’ porous offense the chance to squeak out a 2-1 win. <hl> Syndergaard pitched so well that, afterward, a reporter asked him if this start had stamped him as one of the best young pitchers in baseball, and he did not scoff at the question. “I hope so,” Syndergaard said. “But, I mean, I certainly don’t think I’m there yet to carry the name as Clayton Kershaw does. But hopefully I’ll get there.”

Syndergaard then gave the type of performance that defines a player’s season, the kind that can instill confidence in a rookie and propel him to new heights. He suffocated the Dodgers, holding them to two hits and one run in six innings. He pitched even with Kershaw, perhaps even better, and gave the Mets’ porous offense the chance to squeak out a <hl> 2-1 <hl> win. Syndergaard pitched so well that, afterward, a reporter asked him if this start had stamped him as one of the best young pitchers in baseball, and he did not scoff at the question. “I hope so,” Syndergaard said. “But, I mean, I certainly don’t think I’m there yet to carry the name as Clayton Kershaw does. But hopefully I’ll get there.”


Question: How many hits did the opposing team have against Syndergaard?

Answer: two

Syndergaard then gave the type of performance that defines a player’s season, the kind that can instill confidence in a rookie and propel him to new heights. <hl> He suffocated the Dodgers, holding them to two hits and one run in six innings. <hl> He pitched even with Kershaw, perhaps even better, and gave the Mets’ porous offense the chance to squeak out a 2-1 win. Syndergaard pitched so well that, afterward, a reporter asked him if this start had stamped him as one of the best young pitchers in baseball, and he did not scoff at the question. “I hope so,” Syndergaard said. “But, I mean, I certainly don’t think I’m there yet to carry the name as Clayton Kershaw does. But hopefully I’ll get there.”

Syndergaard then gave the type of performance that defines a player’s season, the kind that can instill confidence in a rookie and propel him to new heights. He suffocated the Dodgers, holding them to <hl> two <hl> hits and one run in six innings. He pitched even with Kershaw, perhaps even better, and gave the Mets’ porous offense the chance to squeak out a 2-1 win. Syndergaard pitched so well that, afterward, a reporter asked him if this start had stamped him as one of the best young pitchers in baseball, and he did not scoff at the question. “I hope so,” Syndergaard said. “But, I mean, I certainly don’t think I’m there yet to carry the name as Clayton Kershaw does. But hopefully I’ll get there.”


Question: How many innings did Syndergaard pitch?

Answer: six

Syndergaard then gave the type of performance that defines a player’s season, the kind that can instill confidence in a rookie and propel him to new heights. <hl> He suffocated the Dodgers, holding them to two hits and one run in six innings. <hl> He pitched even with Kershaw, perhaps even better, and gave the Mets’ porous offense the chance to squeak out a 2-1 win. Syndergaard pitched so well that, afterward, a reporter asked him if this start had stamped him as one of the best young pitchers in baseball, and he did not scoff at the question. “I hope so,” Syndergaard said. “But, I mean, I certainly don’t think I’m there yet to carry the name as Clayton Kershaw does. But hopefully I’ll get there.”

Syndergaard then gave the type of performance that defines a player’s season, the kind that can instill confidence in a rookie and propel him to new heights. He suffocated the Dodgers, holding them to two hits and one run in <hl> six <hl> innings. He pitched even with Kershaw, perhaps even better, and gave the Mets’ porous offense the chance to squeak out a 2-1 win. Syndergaard pitched so well that, afterward, a reporter asked him if this start had stamped him as one of the best young pitchers in baseball, and he did not scoff at the question. “I hope so,” Syndergaard said. “But, I mean, I certainly don’t think I’m there yet to carry the name as Clayton Kershaw does. But hopefully I’ll get there.”


Question: Who did Syndergaard strike out twice?

Syndergaard appeared confident and collected early on. He struck out Jimmy Rollins twice — once swinging, on a 97-mile-per-hour fastball, and then looking, on a 99-m.p.h. fastball. He struck out Joc Pederson, another touted rookie, leaving him flailing at a curveball. He showed improved confidence in his off-speed pitches, using the Dodgers’ aggressiveness against them.

Answer: Jimmy Rollins

Syndergaard appeared confident and collected early on. <hl> He struck out Jimmy Rollins twice — once swinging, on a 97-mile-per-hour fastball, and then looking, on a 99-m.p.h. <hl> fastball. He struck out Joc Pederson, another touted rookie, leaving him flailing at a curveball. He showed improved confidence in his off-speed pitches, using the Dodgers’ aggressiveness against them.

Syndergaard appeared confident and collected early on. He struck out <hl> Jimmy Rollins <hl> twice — once swinging, on a 97-mile-per-hour fastball, and then looking, on a 99-m.p.h. fastball. He struck out Joc Pederson, another touted rookie, leaving him flailing at a curveball. He showed improved confidence in his off-speed pitches, using the Dodgers’ aggressiveness against them.


Question: What kind of pitch did Joc Pederson strike out on?

Answer: curveball

Syndergaard appeared confident and collected early on. He struck out Jimmy Rollins twice — once swinging, on a 97-mile-per-hour fastball, and then looking, on a 99-m.p.h. fastball. <hl> He struck out Joc Pederson, another touted rookie, leaving him flailing at a curveball . <hl> He showed improved confidence in his off-speed pitches, using the Dodgers’ aggressiveness against them.

Syndergaard appeared confident and collected early on. He struck out Jimmy Rollins twice — once swinging, on a 97-mile-per-hour fastball, and then looking, on a 99-m.p.h. fastball. He struck out Joc Pederson, another touted rookie, leaving him flailing at a <hl> curveball <hl>. He showed improved confidence in his off-speed pitches, using the Dodgers’ aggressiveness against them.

He struck out Joc Pederson, another touted rookie, leaving him flailing at a <hl> curveball <hl> .


Question: What was the speed of Syndergaard's fastest pitch?

Answer: 99-m.p.h.

Syndergaard appeared confident and collected early on. <hl> He struck out Jimmy Rollins twice — once swinging, on a 97-mile-per-hour fastball, and then looking, on a 99-m.p.h. fastball. <hl> He struck out Joc Pederson, another touted rookie, leaving him flailing at a curveball. He showed improved confidence in his off-speed pitches, using the Dodgers’ aggressiveness against them.

Syndergaard appeared confident and collected early on. He struck out Jimmy Rollins twice — once swinging, on a 97-mile-per-hour fastball, and then looking, on a <hl> 99-m.p.h. <hl> fastball. He struck out Joc Pederson, another touted rookie, leaving him flailing at a curveball. He showed improved confidence in his off-speed pitches, using the Dodgers’ aggressiveness against them.


Question: Was Pederson a veteran player or a rookie?

Answer: rookie

Syndergaard appeared confident and collected early on. He struck out Jimmy Rollins twice — once swinging, on a 97-mile-per-hour fastball, and then looking, on a 99-m.p.h. fastball. <hl> He struck out Joc Pederson, another touted rookie , leaving him flailing at a curveball. <hl> He showed improved confidence in his off-speed pitches, using the Dodgers’ aggressiveness against them.

Syndergaard appeared confident and collected early on. He struck out Jimmy Rollins twice — once swinging, on a 97-mile-per-hour fastball, and then looking, on a 99-m.p.h. fastball. He struck out Joc Pederson, another touted <hl> rookie <hl>, leaving him flailing at a curveball. He showed improved confidence in his off-speed pitches, using the Dodgers’ aggressiveness against them.

He struck out Joc Pederson, another touted <hl> rookie <hl> , leaving him flailing at a curveball.


Question: What attribute did Syndergaard use against the Dodgers?

Answer: aggressiveness

Syndergaard appeared confident and collected early on. He struck out Jimmy Rollins twice — once swinging, on a 97-mile-per-hour fastball, and then looking, on a 99-m.p.h. fastball. He struck out Joc Pederson, another touted rookie, leaving him flailing at a curveball. <hl> He showed improved confidence in his off-speed pitches, using the Dodgers’ aggressiveness against them. <hl>

Syndergaard appeared confident and collected early on. He struck out Jimmy Rollins twice — once swinging, on a 97-mile-per-hour fastball, and then looking, on a 99-m.p.h. fastball. He struck out Joc Pederson, another touted rookie, leaving him flailing at a curveball. He showed improved confidence in his off-speed pitches, using the Dodgers’ <hl> aggressiveness <hl> against them.


Question: When did Vanity Fair begin advertising?

96 YEARS AGO Prehistory — before the Kardashians and Caitlyn with a C, before even the naked and pregnant Demi Moore — Vanity Fair knew how to strike with an image. It boasted as much in advertisements published in The New York Times in 1919, during the magazine’s first heyday. “Vanity Fair prides itself on knowing every lovely, brilliant, or bizarre woman in the world and printing her photograph in its pages,” the ad copy read. This was “the magazine of leisure interests for men who know enough to have them,” or so its tagline declared in a series of wittily wordy ads that ran in The Times. The image that struck hardest in those early years was not a photograph of a “lovely, brilliant, or bizarre woman,” however. It was a cartoon that depicted Emperor Hirohito of Japan, and it was the subject of an international incident.

Answer: 1919

96 YEARS AGO Prehistory — before the Kardashians and Caitlyn with a C, before even the naked and pregnant Demi Moore — Vanity Fair knew how to strike with an image. <hl> It boasted as much in advertisements published in The New York Times in 1919 , during the magazine’s first heyday. <hl> “Vanity Fair prides itself on knowing every lovely, brilliant, or bizarre woman in the world and printing her photograph in its pages,” the ad copy read. This was “the magazine of leisure interests for men who know enough to have them,” or so its tagline declared in a series of wittily wordy ads that ran in The Times. The image that struck hardest in those early years was not a photograph of a “lovely, brilliant, or bizarre woman,” however. It was a cartoon that depicted Emperor Hirohito of Japan, and it was the subject of an international incident.

96 YEARS AGO Prehistory — before the Kardashians and Caitlyn with a C, before even the naked and pregnant Demi Moore — Vanity Fair knew how to strike with an image. It boasted as much in advertisements published in The New York Times in <hl> 1919 <hl>, during the magazine’s first heyday. “Vanity Fair prides itself on knowing every lovely, brilliant, or bizarre woman in the world and printing her photograph in its pages,” the ad copy read. This was “the magazine of leisure interests for men who know enough to have them,” or so its tagline declared in a series of wittily wordy ads that ran in The Times. The image that struck hardest in those early years was not a photograph of a “lovely, brilliant, or bizarre woman,” however. It was a cartoon that depicted Emperor Hirohito of Japan, and it was the subject of an international incident.

It boasted as much in advertisements published in The New York Times in <hl> 1919 <hl> , during the magazine’s first heyday.


Question: Where did Vanity Fair first advertise?

Answer: The New York Times

96 YEARS AGO Prehistory — before the Kardashians and Caitlyn with a C, before even the naked and pregnant Demi Moore — Vanity Fair knew how to strike with an image. <hl> It boasted as much in advertisements published in The New York Times in 1919, during the magazine’s first heyday. <hl> “Vanity Fair prides itself on knowing every lovely, brilliant, or bizarre woman in the world and printing her photograph in its pages,” the ad copy read. This was “the magazine of leisure interests for men who know enough to have them,” or so its tagline declared in a series of wittily wordy ads that ran in The Times. The image that struck hardest in those early years was not a photograph of a “lovely, brilliant, or bizarre woman,” however. It was a cartoon that depicted Emperor Hirohito of Japan, and it was the subject of an international incident.

96 YEARS AGO Prehistory — before the Kardashians and Caitlyn with a C, before even the naked and pregnant Demi Moore — Vanity Fair knew how to strike with an image. It boasted as much in advertisements published in <hl> The New York Times <hl> in 1919, during the magazine’s first heyday. “Vanity Fair prides itself on knowing every lovely, brilliant, or bizarre woman in the world and printing her photograph in its pages,” the ad copy read. This was “the magazine of leisure interests for men who know enough to have them,” or so its tagline declared in a series of wittily wordy ads that ran in The Times. The image that struck hardest in those early years was not a photograph of a “lovely, brilliant, or bizarre woman,” however. It was a cartoon that depicted Emperor Hirohito of Japan, and it was the subject of an international incident.


Question: What image first gained traction in the early years?

Answer: a cartoon that depicted Emperor Hirohito of Japan

96 YEARS AGO Prehistory — before the Kardashians and Caitlyn with a C, before even the naked and pregnant Demi Moore — Vanity Fair knew how to strike with an image. It boasted as much in advertisements published in The New York Times in 1919, during the magazine’s first heyday. “Vanity Fair prides itself on knowing every lovely, brilliant, or bizarre woman in the world and printing her photograph in its pages,” the ad copy read. This was “the magazine of leisure interests for men who know enough to have them,” or so its tagline declared in a series of wittily wordy ads that ran in The Times. The image that struck hardest in those early years was not a photograph of a “lovely, brilliant, or bizarre woman,” however. <hl> It was a cartoon that depicted Emperor Hirohito of Japan , and it was the subject of an international incident. <hl>

96 YEARS AGO Prehistory — before the Kardashians and Caitlyn with a C, before even the naked and pregnant Demi Moore — Vanity Fair knew how to strike with an image. It boasted as much in advertisements published in The New York Times in 1919, during the magazine’s first heyday. “Vanity Fair prides itself on knowing every lovely, brilliant, or bizarre woman in the world and printing her photograph in its pages,” the ad copy read. This was “the magazine of leisure interests for men who know enough to have them,” or so its tagline declared in a series of wittily wordy ads that ran in The Times. The image that struck hardest in those early years was not a photograph of a “lovely, brilliant, or bizarre woman,” however. It was <hl> a cartoon that depicted Emperor Hirohito of Japan <hl>, and it was the subject of an international incident.

It was <hl> a cartoon that depicted Emperor Hirohito of Japan <hl> , and it was the subject of an international incident.


Question: What does Vanity Fair pride itself on?

Answer: knowing every lovely, brilliant, or bizarre woman in the world and printing her photograph in its pages,

96 YEARS AGO Prehistory — before the Kardashians and Caitlyn with a C, before even the naked and pregnant Demi Moore — Vanity Fair knew how to strike with an image. It boasted as much in advertisements published in The New York Times in 1919, during the magazine’s first heyday. <hl> “Vanity Fair prides itself on knowing every lovely, brilliant, or bizarre woman in the world and printing her photograph in its pages, ” the ad copy read. <hl> This was “the magazine of leisure interests for men who know enough to have them,” or so its tagline declared in a series of wittily wordy ads that ran in The Times. The image that struck hardest in those early years was not a photograph of a “lovely, brilliant, or bizarre woman,” however. It was a cartoon that depicted Emperor Hirohito of Japan, and it was the subject of an international incident.

96 YEARS AGO Prehistory — before the Kardashians and Caitlyn with a C, before even the naked and pregnant Demi Moore — Vanity Fair knew how to strike with an image. It boasted as much in advertisements published in The New York Times in 1919, during the magazine’s first heyday. “Vanity Fair prides itself on <hl> knowing every lovely, brilliant, or bizarre woman in the world and printing her photograph in its pages, <hl>” the ad copy read. This was “the magazine of leisure interests for men who know enough to have them,” or so its tagline declared in a series of wittily wordy ads that ran in The Times. The image that struck hardest in those early years was not a photograph of a “lovely, brilliant, or bizarre woman,” however. It was a cartoon that depicted Emperor Hirohito of Japan, and it was the subject of an international incident.

“Vanity Fair prides itself on <hl> knowing every lovely, brilliant, or bizarre woman in the world and printing her photograph in its pages, <hl> ” the ad copy read.


Question: Who holds the position of Japanese ambassador?

The Japanese ambassador, Hirosi Saito, who was planning to meet with the United States secretary of state “to take whatever action was possible to remedy the situation,” went on to explain that “while he fully comprehended that in this country, where caricatures of the highest public officials are every day fare in the press, no slight to the person of the Emperor was necessarily intended, yet in Japan a representation of the Emperor as engaged in the menial task of pulling a cart could not be understood or taken lightly.”

Answer: Hirosi Saito

<hl> The Japanese ambassador, Hirosi Saito , who was planning to meet with the United States secretary of state “to take whatever action was possible to remedy the situation,” went on to explain that “while he fully comprehended that in this country, where caricatures of the highest public officials are every day fare in the press, no slight to the person of the Emperor was necessarily intended, yet in Japan a representation of the Emperor as engaged in the menial task of pulling a cart could not be understood or taken lightly.” <hl>

The Japanese ambassador, <hl> Hirosi Saito <hl>, who was planning to meet with the United States secretary of state “to take whatever action was possible to remedy the situation,” went on to explain that “while he fully comprehended that in this country, where caricatures of the highest public officials are every day fare in the press, no slight to the person of the Emperor was necessarily intended, yet in Japan a representation of the Emperor as engaged in the menial task of pulling a cart could not be understood or taken lightly.”

The Japanese ambassador, <hl> Hirosi Saito <hl> , who was planning to meet with the United States secretary of state “to take whatever action was possible to remedy the situation,” went on to explain that “while he fully comprehended that in this country, where caricatures of the highest public officials are every day fare in the press, no slight to the person of the Emperor was necessarily intended, yet in Japan a representation of the Emperor as engaged in the menial task of pulling a cart could not be understood or taken lightly.”


Question: Who was Hirosi Saito planning to meet with?

Answer: the United States secretary of state

<hl> The Japanese ambassador, Hirosi Saito, who was planning to meet with the United States secretary of state “to take whatever action was possible to remedy the situation,” went on to explain that “while he fully comprehended that in this country, where caricatures of the highest public officials are every day fare in the press, no slight to the person of the Emperor was necessarily intended, yet in Japan a representation of the Emperor as engaged in the menial task of pulling a cart could not be understood or taken lightly.” <hl>

The Japanese ambassador, Hirosi Saito, who was planning to meet with <hl> the United States secretary of state <hl> “to take whatever action was possible to remedy the situation,” went on to explain that “while he fully comprehended that in this country, where caricatures of the highest public officials are every day fare in the press, no slight to the person of the Emperor was necessarily intended, yet in Japan a representation of the Emperor as engaged in the menial task of pulling a cart could not be understood or taken lightly.”


Question: What was the purpose of the meeting?

Answer: to take whatever action was possible to remedy the situation,

<hl> The Japanese ambassador, Hirosi Saito, who was planning to meet with the United States secretary of state “ to take whatever action was possible to remedy the situation, ” went on to explain that “while he fully comprehended that in this country, where caricatures of the highest public officials are every day fare in the press, no slight to the person of the Emperor was necessarily intended, yet in Japan a representation of the Emperor as engaged in the menial task of pulling a cart could not be understood or taken lightly.” <hl>

The Japanese ambassador, Hirosi Saito, who was planning to meet with the United States secretary of state “<hl> to take whatever action was possible to remedy the situation, <hl>” went on to explain that “while he fully comprehended that in this country, where caricatures of the highest public officials are every day fare in the press, no slight to the person of the Emperor was necessarily intended, yet in Japan a representation of the Emperor as engaged in the menial task of pulling a cart could not be understood or taken lightly.”

The Japanese ambassador, Hirosi Saito, who was planning to meet with the United States secretary of state “ <hl> to take whatever action was possible to remedy the situation, <hl> ” went on to explain that “while he fully comprehended that in this country, where caricatures of the highest public officials are every day fare in the press, no slight to the person of the Emperor was necessarily intended, yet in Japan a representation of the Emperor as engaged in the menial task of pulling a cart could not be understood or taken lightly.”


Question: What is the name of the fair that combines art and design?

The Salon Art + Design bills itself as a fair that combines art and design, echoing how people actually live — that is, with both art and furniture, rather than in sterile white cubes or furniture showrooms. It also sets out to reflect how architects and interior designers are behaving today, mixing historical periods and styles to achieve a casual, if studied, eclecticism. With that in mind, the fair runs the gamut from works that have made the rounds of museum shows to more experimental or even frivolous objects (which doesn’t mean cheap ones). Following are highlights from some of the 55 galleries in the show.

Answer: The Salon Art + Design

<hl> The Salon Art + Design bills itself as a fair that combines art and design, echoing how people actually live — that is, with both art and furniture, rather than in sterile white cubes or furniture showrooms. <hl> It also sets out to reflect how architects and interior designers are behaving today, mixing historical periods and styles to achieve a casual, if studied, eclecticism. With that in mind, the fair runs the gamut from works that have made the rounds of museum shows to more experimental or even frivolous objects (which doesn’t mean cheap ones). Following are highlights from some of the 55 galleries in the show.

<hl> The Salon Art + Design <hl> bills itself as a fair that combines art and design, echoing how people actually live — that is, with both art and furniture, rather than in sterile white cubes or furniture showrooms. It also sets out to reflect how architects and interior designers are behaving today, mixing historical periods and styles to achieve a casual, if studied, eclecticism. With that in mind, the fair runs the gamut from works that have made the rounds of museum shows to more experimental or even frivolous objects (which doesn’t mean cheap ones). Following are highlights from some of the 55 galleries in the show.


Question: How many galleries are at the show?

Answer: 55

The Salon Art + Design bills itself as a fair that combines art and design, echoing how people actually live — that is, with both art and furniture, rather than in sterile white cubes or furniture showrooms. It also sets out to reflect how architects and interior designers are behaving today, mixing historical periods and styles to achieve a casual, if studied, eclecticism. With that in mind, the fair runs the gamut from works that have made the rounds of museum shows to more experimental or even frivolous objects (which doesn’t mean cheap ones). <hl> Following are highlights from some of the 55 galleries in the show. <hl>

The Salon Art + Design bills itself as a fair that combines art and design, echoing how people actually live — that is, with both art and furniture, rather than in sterile white cubes or furniture showrooms. It also sets out to reflect how architects and interior designers are behaving today, mixing historical periods and styles to achieve a casual, if studied, eclecticism. With that in mind, the fair runs the gamut from works that have made the rounds of museum shows to more experimental or even frivolous objects (which doesn’t mean cheap ones). Following are highlights from some of the <hl> 55 <hl> galleries in the show.


Question: What is unique about the Salon Art + Design fair?

Answer: echoing how people actually live

<hl> The Salon Art + Design bills itself as a fair that combines art and design, echoing how people actually live — that is, with both art and furniture, rather than in sterile white cubes or furniture showrooms. <hl> It also sets out to reflect how architects and interior designers are behaving today, mixing historical periods and styles to achieve a casual, if studied, eclecticism. With that in mind, the fair runs the gamut from works that have made the rounds of museum shows to more experimental or even frivolous objects (which doesn’t mean cheap ones). Following are highlights from some of the 55 galleries in the show.

The Salon Art + Design bills itself as a fair that combines art and design, <hl> echoing how people actually live <hl> — that is, with both art and furniture, rather than in sterile white cubes or furniture showrooms. It also sets out to reflect how architects and interior designers are behaving today, mixing historical periods and styles to achieve a casual, if studied, eclecticism. With that in mind, the fair runs the gamut from works that have made the rounds of museum shows to more experimental or even frivolous objects (which doesn’t mean cheap ones). Following are highlights from some of the 55 galleries in the show.


Question: What type of style is the fair trying to achieve casually?

Answer: eclecticism

The Salon Art + Design bills itself as a fair that combines art and design, echoing how people actually live — that is, with both art and furniture, rather than in sterile white cubes or furniture showrooms. <hl> It also sets out to reflect how architects and interior designers are behaving today, mixing historical periods and styles to achieve a casual, if studied, eclecticism . <hl> With that in mind, the fair runs the gamut from works that have made the rounds of museum shows to more experimental or even frivolous objects (which doesn’t mean cheap ones). Following are highlights from some of the 55 galleries in the show.

The Salon Art + Design bills itself as a fair that combines art and design, echoing how people actually live — that is, with both art and furniture, rather than in sterile white cubes or furniture showrooms. It also sets out to reflect how architects and interior designers are behaving today, mixing historical periods and styles to achieve a casual, if studied, <hl> eclecticism <hl>. With that in mind, the fair runs the gamut from works that have made the rounds of museum shows to more experimental or even frivolous objects (which doesn’t mean cheap ones). Following are highlights from some of the 55 galleries in the show.

It also sets out to reflect how architects and interior designers are behaving today, mixing historical periods and styles to achieve a casual, if studied, <hl> eclecticism <hl> .


Question: What is the name of the painting that is strikingly American version of Modernism?

Bernard Goldberg A strikingly American version of Modernism, Paul Cadmus’s painting “Venus and Adonis” (1936) riffs on a Rubens canvas from the 1630s depicting the same subject. Exhibited in several museums, this is a relatively tame piece by Cadmus, whose work was removed from the Corcoran Gallery in Washington in the 1930s at the request of the United States Navy because of its salacious depiction of sailors. (Cadmus was one of the first publicly gay artists.) Mazzoleni The surge of interest in masters of Italian Modernism is reflected at Mazzoleni, which is showing works by Alberto Burri, Lucio Fontana and Michelangelo Pistoletto. A diminutive 1966 red plastic work by Burri, made by taking a blowtorch to plastic, is like a miniature version of what is on view in the Burri show at the Guggenheim Museum. Several canvases with Fontana’s signature slashes are joined by a recent Pistoletto mirror work that includes a flat image of a man on a telephone.

Answer: Venus and Adonis

<hl> Bernard Goldberg A strikingly American version of Modernism, Paul Cadmus’s painting “ Venus and Adonis ” (1936) riffs on a Rubens canvas from the 1630s depicting the same subject. <hl> Exhibited in several museums, this is a relatively tame piece by Cadmus, whose work was removed from the Corcoran Gallery in Washington in the 1930s at the request of the United States Navy because of its salacious depiction of sailors. (Cadmus was one of the first publicly gay artists.) Mazzoleni The surge of interest in masters of Italian Modernism is reflected at Mazzoleni, which is showing works by Alberto Burri, Lucio Fontana and Michelangelo Pistoletto. A diminutive 1966 red plastic work by Burri, made by taking a blowtorch to plastic, is like a miniature version of what is on view in the Burri show at the Guggenheim Museum. Several canvases with Fontana’s signature slashes are joined by a recent Pistoletto mirror work that includes a flat image of a man on a telephone.

Bernard Goldberg A strikingly American version of Modernism, Paul Cadmus’s painting “<hl> Venus and Adonis <hl>” (1936) riffs on a Rubens canvas from the 1630s depicting the same subject. Exhibited in several museums, this is a relatively tame piece by Cadmus, whose work was removed from the Corcoran Gallery in Washington in the 1930s at the request of the United States Navy because of its salacious depiction of sailors. (Cadmus was one of the first publicly gay artists.) Mazzoleni The surge of interest in masters of Italian Modernism is reflected at Mazzoleni, which is showing works by Alberto Burri, Lucio Fontana and Michelangelo Pistoletto. A diminutive 1966 red plastic work by Burri, made by taking a blowtorch to plastic, is like a miniature version of what is on view in the Burri show at the Guggenheim Museum. Several canvases with Fontana’s signature slashes are joined by a recent Pistoletto mirror work that includes a flat image of a man on a telephone.

Bernard Goldberg A strikingly American version of Modernism, Paul Cadmus’s painting “ <hl> Venus and Adonis <hl> ” (1936) riffs on a Rubens canvas from the 1630s depicting the same subject.


Question: From which gallery was Cadmus' work removed due to salacious depiction of sailors?

Answer: Corcoran Gallery

Bernard Goldberg A strikingly American version of Modernism, Paul Cadmus’s painting “Venus and Adonis” (1936) riffs on a Rubens canvas from the 1630s depicting the same subject. <hl> Exhibited in several museums, this is a relatively tame piece by Cadmus, whose work was removed from the Corcoran Gallery in Washington in the 1930s at the request of the United States Navy because of its salacious depiction of sailors. <hl> (Cadmus was one of the first publicly gay artists.) Mazzoleni The surge of interest in masters of Italian Modernism is reflected at Mazzoleni, which is showing works by Alberto Burri, Lucio Fontana and Michelangelo Pistoletto. A diminutive 1966 red plastic work by Burri, made by taking a blowtorch to plastic, is like a miniature version of what is on view in the Burri show at the Guggenheim Museum. Several canvases with Fontana’s signature slashes are joined by a recent Pistoletto mirror work that includes a flat image of a man on a telephone.

Bernard Goldberg A strikingly American version of Modernism, Paul Cadmus’s painting “Venus and Adonis” (1936) riffs on a Rubens canvas from the 1630s depicting the same subject. Exhibited in several museums, this is a relatively tame piece by Cadmus, whose work was removed from the <hl> Corcoran Gallery <hl> in Washington in the 1930s at the request of the United States Navy because of its salacious depiction of sailors. (Cadmus was one of the first publicly gay artists.) Mazzoleni The surge of interest in masters of Italian Modernism is reflected at Mazzoleni, which is showing works by Alberto Burri, Lucio Fontana and Michelangelo Pistoletto. A diminutive 1966 red plastic work by Burri, made by taking a blowtorch to plastic, is like a miniature version of what is on view in the Burri show at the Guggenheim Museum. Several canvases with Fontana’s signature slashes are joined by a recent Pistoletto mirror work that includes a flat image of a man on a telephone.


Question: Who painted Venus and Adonis?

Answer: Paul Cadmus

<hl> Bernard Goldberg A strikingly American version of Modernism, Paul Cadmus ’s painting “Venus and Adonis” (1936) riffs on a Rubens canvas from the 1630s depicting the same subject. <hl> Exhibited in several museums, this is a relatively tame piece by Cadmus, whose work was removed from the Corcoran Gallery in Washington in the 1930s at the request of the United States Navy because of its salacious depiction of sailors. (Cadmus was one of the first publicly gay artists.) Mazzoleni The surge of interest in masters of Italian Modernism is reflected at Mazzoleni, which is showing works by Alberto Burri, Lucio Fontana and Michelangelo Pistoletto. A diminutive 1966 red plastic work by Burri, made by taking a blowtorch to plastic, is like a miniature version of what is on view in the Burri show at the Guggenheim Museum. Several canvases with Fontana’s signature slashes are joined by a recent Pistoletto mirror work that includes a flat image of a man on a telephone.

Bernard Goldberg A strikingly American version of Modernism, <hl> Paul Cadmus <hl>’s painting “Venus and Adonis” (1936) riffs on a Rubens canvas from the 1630s depicting the same subject. Exhibited in several museums, this is a relatively tame piece by Cadmus, whose work was removed from the Corcoran Gallery in Washington in the 1930s at the request of the United States Navy because of its salacious depiction of sailors. (Cadmus was one of the first publicly gay artists.) Mazzoleni The surge of interest in masters of Italian Modernism is reflected at Mazzoleni, which is showing works by Alberto Burri, Lucio Fontana and Michelangelo Pistoletto. A diminutive 1966 red plastic work by Burri, made by taking a blowtorch to plastic, is like a miniature version of what is on view in the Burri show at the Guggenheim Museum. Several canvases with Fontana’s signature slashes are joined by a recent Pistoletto mirror work that includes a flat image of a man on a telephone.

Bernard Goldberg A strikingly American version of Modernism, <hl> Paul Cadmus <hl> ’s painting “Venus and Adonis” (1936) riffs on a Rubens canvas from the 1630s depicting the same subject.


Question: Which part of the US Military had a Cadmus painting removed from a gallery?

Answer: United States Navy

Bernard Goldberg A strikingly American version of Modernism, Paul Cadmus’s painting “Venus and Adonis” (1936) riffs on a Rubens canvas from the 1630s depicting the same subject. <hl> Exhibited in several museums, this is a relatively tame piece by Cadmus, whose work was removed from the Corcoran Gallery in Washington in the 1930s at the request of the United States Navy because of its salacious depiction of sailors. <hl> (Cadmus was one of the first publicly gay artists.) Mazzoleni The surge of interest in masters of Italian Modernism is reflected at Mazzoleni, which is showing works by Alberto Burri, Lucio Fontana and Michelangelo Pistoletto. A diminutive 1966 red plastic work by Burri, made by taking a blowtorch to plastic, is like a miniature version of what is on view in the Burri show at the Guggenheim Museum. Several canvases with Fontana’s signature slashes are joined by a recent Pistoletto mirror work that includes a flat image of a man on a telephone.

Bernard Goldberg A strikingly American version of Modernism, Paul Cadmus’s painting “Venus and Adonis” (1936) riffs on a Rubens canvas from the 1630s depicting the same subject. Exhibited in several museums, this is a relatively tame piece by Cadmus, whose work was removed from the Corcoran Gallery in Washington in the 1930s at the request of the <hl> United States Navy <hl> because of its salacious depiction of sailors. (Cadmus was one of the first publicly gay artists.) Mazzoleni The surge of interest in masters of Italian Modernism is reflected at Mazzoleni, which is showing works by Alberto Burri, Lucio Fontana and Michelangelo Pistoletto. A diminutive 1966 red plastic work by Burri, made by taking a blowtorch to plastic, is like a miniature version of what is on view in the Burri show at the Guggenheim Museum. Several canvases with Fontana’s signature slashes are joined by a recent Pistoletto mirror work that includes a flat image of a man on a telephone.


Question: Who made a piece of art by taking a blowtorch to plastic?

Answer: Alberto Burri

Bernard Goldberg A strikingly American version of Modernism, Paul Cadmus’s painting “Venus and Adonis” (1936) riffs on a Rubens canvas from the 1630s depicting the same subject. Exhibited in several museums, this is a relatively tame piece by Cadmus, whose work was removed from the Corcoran Gallery in Washington in the 1930s at the request of the United States Navy because of its salacious depiction of sailors. (Cadmus was one of the first publicly gay artists.) <hl> Mazzoleni The surge of interest in masters of Italian Modernism is reflected at Mazzoleni, which is showing works by Alberto Burri , Lucio Fontana and Michelangelo Pistoletto. <hl> A diminutive 1966 red plastic work by Burri, made by taking a blowtorch to plastic, is like a miniature version of what is on view in the Burri show at the Guggenheim Museum. Several canvases with Fontana’s signature slashes are joined by a recent Pistoletto mirror work that includes a flat image of a man on a telephone.

Bernard Goldberg A strikingly American version of Modernism, Paul Cadmus’s painting “Venus and Adonis” (1936) riffs on a Rubens canvas from the 1630s depicting the same subject. Exhibited in several museums, this is a relatively tame piece by Cadmus, whose work was removed from the Corcoran Gallery in Washington in the 1930s at the request of the United States Navy because of its salacious depiction of sailors. (Cadmus was one of the first publicly gay artists.) Mazzoleni The surge of interest in masters of Italian Modernism is reflected at Mazzoleni, which is showing works by <hl> Alberto Burri <hl>, Lucio Fontana and Michelangelo Pistoletto. A diminutive 1966 red plastic work by Burri, made by taking a blowtorch to plastic, is like a miniature version of what is on view in the Burri show at the Guggenheim Museum. Several canvases with Fontana’s signature slashes are joined by a recent Pistoletto mirror work that includes a flat image of a man on a telephone.

Mazzoleni The surge of interest in masters of Italian Modernism is reflected at Mazzoleni, which is showing works by <hl> Alberto Burri <hl> , Lucio Fontana and Michelangelo Pistoletto.


Question: Which gallery has a organic and natural modern approach to furniture?

Moderne An organic and natural modern approach to furniture is on view at Moderne Gallery of Philadelphia, which is showing a sofa designed in 1968 by Wharton Esherick, a leading midcentury craftsman. Made of cherry and walnut, the biomorphic shape recalls sculptures by Alberto Giacometti, Barbara Hepworth and Henry Moore, and functions as both sculpture and sofa. When the wood along the back of the sofa expands because of temperature and humidity, it reveals red paint, creating a kind of striped effect. Friedman Benda Nature is corralled in a more humorous way by the Brazilian designers and brothers Humberto and Fernando Campana in their “Bolotas” (2015) chairs at Friedman Benda, near the entrance to the fair. “Bolotas” means “acorns” in Portuguese, and the chairs, covered with chestnut-colored sheep’s wool, do simulate the look of acorns, as well as of unshaven sheep, shag carpeting or bean bags. They are, nonetheless, shockingly comfortable. David Gill Arguably the goofiest object at Salon is the “Jungle V.I.P.” chandelier from 2014, designed by Barnaby Barford. Made with crystal, brass, sculpted foam and wire, the fixture hangs at a tilt, thanks to a black crystal monkey dangling from its rim. In another context, it might read like a sculpture by Maurizio Cattelan or any number of young artists given to sight gags. Like many of the objects in this show, however, the chandelier is a strong statement against taking art or design too seriously, and for mixing materials, histories, traditions and sensibilities as irreverently as possible.

Answer: Moderne Gallery of Philadelphia

<hl> Moderne An organic and natural modern approach to furniture is on view at Moderne Gallery of Philadelphia , which is showing a sofa designed in 1968 by Wharton Esherick, a leading midcentury craftsman. <hl> Made of cherry and walnut, the biomorphic shape recalls sculptures by Alberto Giacometti, Barbara Hepworth and Henry Moore, and functions as both sculpture and sofa. When the wood along the back of the sofa expands because of temperature and humidity, it reveals red paint, creating a kind of striped effect. Friedman Benda Nature is corralled in a more humorous way by the Brazilian designers and brothers Humberto and Fernando Campana in their “Bolotas” (2015) chairs at Friedman Benda, near the entrance to the fair. “Bolotas” means “acorns” in Portuguese, and the chairs, covered with chestnut-colored sheep’s wool, do simulate the look of acorns, as well as of unshaven sheep, shag carpeting or bean bags. They are, nonetheless, shockingly comfortable. David Gill Arguably the goofiest object at Salon is the “Jungle V.I.P.” chandelier from 2014, designed by Barnaby Barford. Made with crystal, brass, sculpted foam and wire, the fixture hangs at a tilt, thanks to a black crystal monkey dangling from its rim. In another context, it might read like a sculpture by Maurizio Cattelan or any number of young artists given to sight gags. Like many of the objects in this show, however, the chandelier is a strong statement against taking art or design too seriously, and for mixing materials, histories, traditions and sensibilities as irreverently as possible.

Moderne An organic and natural modern approach to furniture is on view at <hl> Moderne Gallery of Philadelphia <hl>, which is showing a sofa designed in 1968 by Wharton Esherick, a leading midcentury craftsman. Made of cherry and walnut, the biomorphic shape recalls sculptures by Alberto Giacometti, Barbara Hepworth and Henry Moore, and functions as both sculpture and sofa. When the wood along the back of the sofa expands because of temperature and humidity, it reveals red paint, creating a kind of striped effect. Friedman Benda Nature is corralled in a more humorous way by the Brazilian designers and brothers Humberto and Fernando Campana in their “Bolotas” (2015) chairs at Friedman Benda, near the entrance to the fair. “Bolotas” means “acorns” in Portuguese, and the chairs, covered with chestnut-colored sheep’s wool, do simulate the look of acorns, as well as of unshaven sheep, shag carpeting or bean bags. They are, nonetheless, shockingly comfortable. David Gill Arguably the goofiest object at Salon is the “Jungle V.I.P.” chandelier from 2014, designed by Barnaby Barford. Made with crystal, brass, sculpted foam and wire, the fixture hangs at a tilt, thanks to a black crystal monkey dangling from its rim. In another context, it might read like a sculpture by Maurizio Cattelan or any number of young artists given to sight gags. Like many of the objects in this show, however, the chandelier is a strong statement against taking art or design too seriously, and for mixing materials, histories, traditions and sensibilities as irreverently as possible.

Moderne An organic and natural modern approach to furniture is on view at <hl> Moderne Gallery of Philadelphia <hl> , which is showing a sofa designed in 1968 by Wharton Esherick, a leading midcentury craftsman.


Question: Who is the craftsman that had a sofa on display at the Moderne Gallery of Philadelphia?

Answer: Wharton Esherick

<hl> Moderne An organic and natural modern approach to furniture is on view at Moderne Gallery of Philadelphia, which is showing a sofa designed in 1968 by Wharton Esherick , a leading midcentury craftsman. <hl> Made of cherry and walnut, the biomorphic shape recalls sculptures by Alberto Giacometti, Barbara Hepworth and Henry Moore, and functions as both sculpture and sofa. When the wood along the back of the sofa expands because of temperature and humidity, it reveals red paint, creating a kind of striped effect. Friedman Benda Nature is corralled in a more humorous way by the Brazilian designers and brothers Humberto and Fernando Campana in their “Bolotas” (2015) chairs at Friedman Benda, near the entrance to the fair. “Bolotas” means “acorns” in Portuguese, and the chairs, covered with chestnut-colored sheep’s wool, do simulate the look of acorns, as well as of unshaven sheep, shag carpeting or bean bags. They are, nonetheless, shockingly comfortable. David Gill Arguably the goofiest object at Salon is the “Jungle V.I.P.” chandelier from 2014, designed by Barnaby Barford. Made with crystal, brass, sculpted foam and wire, the fixture hangs at a tilt, thanks to a black crystal monkey dangling from its rim. In another context, it might read like a sculpture by Maurizio Cattelan or any number of young artists given to sight gags. Like many of the objects in this show, however, the chandelier is a strong statement against taking art or design too seriously, and for mixing materials, histories, traditions and sensibilities as irreverently as possible.

Moderne An organic and natural modern approach to furniture is on view at Moderne Gallery of Philadelphia, which is showing a sofa designed in 1968 by <hl> Wharton Esherick <hl>, a leading midcentury craftsman. Made of cherry and walnut, the biomorphic shape recalls sculptures by Alberto Giacometti, Barbara Hepworth and Henry Moore, and functions as both sculpture and sofa. When the wood along the back of the sofa expands because of temperature and humidity, it reveals red paint, creating a kind of striped effect. Friedman Benda Nature is corralled in a more humorous way by the Brazilian designers and brothers Humberto and Fernando Campana in their “Bolotas” (2015) chairs at Friedman Benda, near the entrance to the fair. “Bolotas” means “acorns” in Portuguese, and the chairs, covered with chestnut-colored sheep’s wool, do simulate the look of acorns, as well as of unshaven sheep, shag carpeting or bean bags. They are, nonetheless, shockingly comfortable. David Gill Arguably the goofiest object at Salon is the “Jungle V.I.P.” chandelier from 2014, designed by Barnaby Barford. Made with crystal, brass, sculpted foam and wire, the fixture hangs at a tilt, thanks to a black crystal monkey dangling from its rim. In another context, it might read like a sculpture by Maurizio Cattelan or any number of young artists given to sight gags. Like many of the objects in this show, however, the chandelier is a strong statement against taking art or design too seriously, and for mixing materials, histories, traditions and sensibilities as irreverently as possible.

Moderne An organic and natural modern approach to furniture is on view at Moderne Gallery of Philadelphia, which is showing a sofa designed in 1968 by <hl> Wharton Esherick <hl> , a leading midcentury craftsman.


Question: Who created the "Bolotas" chairs?

Answer: Humberto and Fernando Campana

Moderne An organic and natural modern approach to furniture is on view at Moderne Gallery of Philadelphia, which is showing a sofa designed in 1968 by Wharton Esherick, a leading midcentury craftsman. Made of cherry and walnut, the biomorphic shape recalls sculptures by Alberto Giacometti, Barbara Hepworth and Henry Moore, and functions as both sculpture and sofa. When the wood along the back of the sofa expands because of temperature and humidity, it reveals red paint, creating a kind of striped effect. <hl> Friedman Benda Nature is corralled in a more humorous way by the Brazilian designers and brothers Humberto and Fernando Campana in their “Bolotas” (2015) chairs at Friedman Benda, near the entrance to the fair. <hl> “Bolotas” means “acorns” in Portuguese, and the chairs, covered with chestnut-colored sheep’s wool, do simulate the look of acorns, as well as of unshaven sheep, shag carpeting or bean bags. They are, nonetheless, shockingly comfortable. David Gill Arguably the goofiest object at Salon is the “Jungle V.I.P.” chandelier from 2014, designed by Barnaby Barford. Made with crystal, brass, sculpted foam and wire, the fixture hangs at a tilt, thanks to a black crystal monkey dangling from its rim. In another context, it might read like a sculpture by Maurizio Cattelan or any number of young artists given to sight gags. Like many of the objects in this show, however, the chandelier is a strong statement against taking art or design too seriously, and for mixing materials, histories, traditions and sensibilities as irreverently as possible.

Moderne An organic and natural modern approach to furniture is on view at Moderne Gallery of Philadelphia, which is showing a sofa designed in 1968 by Wharton Esherick, a leading midcentury craftsman. Made of cherry and walnut, the biomorphic shape recalls sculptures by Alberto Giacometti, Barbara Hepworth and Henry Moore, and functions as both sculpture and sofa. When the wood along the back of the sofa expands because of temperature and humidity, it reveals red paint, creating a kind of striped effect. Friedman Benda Nature is corralled in a more humorous way by the Brazilian designers and brothers <hl> Humberto and Fernando Campana <hl> in their “Bolotas” (2015) chairs at Friedman Benda, near the entrance to the fair. “Bolotas” means “acorns” in Portuguese, and the chairs, covered with chestnut-colored sheep’s wool, do simulate the look of acorns, as well as of unshaven sheep, shag carpeting or bean bags. They are, nonetheless, shockingly comfortable. David Gill Arguably the goofiest object at Salon is the “Jungle V.I.P.” chandelier from 2014, designed by Barnaby Barford. Made with crystal, brass, sculpted foam and wire, the fixture hangs at a tilt, thanks to a black crystal monkey dangling from its rim. In another context, it might read like a sculpture by Maurizio Cattelan or any number of young artists given to sight gags. Like many of the objects in this show, however, the chandelier is a strong statement against taking art or design too seriously, and for mixing materials, histories, traditions and sensibilities as irreverently as possible.


Question: What is the goofiest object at Salon?

Answer: “Jungle V.I.P.” chandelier

Moderne An organic and natural modern approach to furniture is on view at Moderne Gallery of Philadelphia, which is showing a sofa designed in 1968 by Wharton Esherick, a leading midcentury craftsman. Made of cherry and walnut, the biomorphic shape recalls sculptures by Alberto Giacometti, Barbara Hepworth and Henry Moore, and functions as both sculpture and sofa. When the wood along the back of the sofa expands because of temperature and humidity, it reveals red paint, creating a kind of striped effect. Friedman Benda Nature is corralled in a more humorous way by the Brazilian designers and brothers Humberto and Fernando Campana in their “Bolotas” (2015) chairs at Friedman Benda, near the entrance to the fair. “Bolotas” means “acorns” in Portuguese, and the chairs, covered with chestnut-colored sheep’s wool, do simulate the look of acorns, as well as of unshaven sheep, shag carpeting or bean bags. They are, nonetheless, shockingly comfortable. <hl> David Gill Arguably the goofiest object at Salon is the “Jungle V.I.P.” chandelier from 2014, designed by Barnaby Barford. <hl> Made with crystal, brass, sculpted foam and wire, the fixture hangs at a tilt, thanks to a black crystal monkey dangling from its rim. In another context, it might read like a sculpture by Maurizio Cattelan or any number of young artists given to sight gags. Like many of the objects in this show, however, the chandelier is a strong statement against taking art or design too seriously, and for mixing materials, histories, traditions and sensibilities as irreverently as possible.

Moderne An organic and natural modern approach to furniture is on view at Moderne Gallery of Philadelphia, which is showing a sofa designed in 1968 by Wharton Esherick, a leading midcentury craftsman. Made of cherry and walnut, the biomorphic shape recalls sculptures by Alberto Giacometti, Barbara Hepworth and Henry Moore, and functions as both sculpture and sofa. When the wood along the back of the sofa expands because of temperature and humidity, it reveals red paint, creating a kind of striped effect. Friedman Benda Nature is corralled in a more humorous way by the Brazilian designers and brothers Humberto and Fernando Campana in their “Bolotas” (2015) chairs at Friedman Benda, near the entrance to the fair. “Bolotas” means “acorns” in Portuguese, and the chairs, covered with chestnut-colored sheep’s wool, do simulate the look of acorns, as well as of unshaven sheep, shag carpeting or bean bags. They are, nonetheless, shockingly comfortable. David Gill Arguably the goofiest object at Salon is the <hl> “Jungle V.I.P.” chandelier <hl> from 2014, designed by Barnaby Barford. Made with crystal, brass, sculpted foam and wire, the fixture hangs at a tilt, thanks to a black crystal monkey dangling from its rim. In another context, it might read like a sculpture by Maurizio Cattelan or any number of young artists given to sight gags. Like many of the objects in this show, however, the chandelier is a strong statement against taking art or design too seriously, and for mixing materials, histories, traditions and sensibilities as irreverently as possible.


Question: Who designed the "Jungle V.I.P" chandelier?

Answer: Barnaby Barford

Moderne An organic and natural modern approach to furniture is on view at Moderne Gallery of Philadelphia, which is showing a sofa designed in 1968 by Wharton Esherick, a leading midcentury craftsman. Made of cherry and walnut, the biomorphic shape recalls sculptures by Alberto Giacometti, Barbara Hepworth and Henry Moore, and functions as both sculpture and sofa. When the wood along the back of the sofa expands because of temperature and humidity, it reveals red paint, creating a kind of striped effect. Friedman Benda Nature is corralled in a more humorous way by the Brazilian designers and brothers Humberto and Fernando Campana in their “Bolotas” (2015) chairs at Friedman Benda, near the entrance to the fair. “Bolotas” means “acorns” in Portuguese, and the chairs, covered with chestnut-colored sheep’s wool, do simulate the look of acorns, as well as of unshaven sheep, shag carpeting or bean bags. They are, nonetheless, shockingly comfortable. <hl> David Gill Arguably the goofiest object at Salon is the “Jungle V.I.P.” chandelier from 2014, designed by Barnaby Barford . <hl> Made with crystal, brass, sculpted foam and wire, the fixture hangs at a tilt, thanks to a black crystal monkey dangling from its rim. In another context, it might read like a sculpture by Maurizio Cattelan or any number of young artists given to sight gags. Like many of the objects in this show, however, the chandelier is a strong statement against taking art or design too seriously, and for mixing materials, histories, traditions and sensibilities as irreverently as possible.

Moderne An organic and natural modern approach to furniture is on view at Moderne Gallery of Philadelphia, which is showing a sofa designed in 1968 by Wharton Esherick, a leading midcentury craftsman. Made of cherry and walnut, the biomorphic shape recalls sculptures by Alberto Giacometti, Barbara Hepworth and Henry Moore, and functions as both sculpture and sofa. When the wood along the back of the sofa expands because of temperature and humidity, it reveals red paint, creating a kind of striped effect. Friedman Benda Nature is corralled in a more humorous way by the Brazilian designers and brothers Humberto and Fernando Campana in their “Bolotas” (2015) chairs at Friedman Benda, near the entrance to the fair. “Bolotas” means “acorns” in Portuguese, and the chairs, covered with chestnut-colored sheep’s wool, do simulate the look of acorns, as well as of unshaven sheep, shag carpeting or bean bags. They are, nonetheless, shockingly comfortable. David Gill Arguably the goofiest object at Salon is the “Jungle V.I.P.” chandelier from 2014, designed by <hl> Barnaby Barford <hl>. Made with crystal, brass, sculpted foam and wire, the fixture hangs at a tilt, thanks to a black crystal monkey dangling from its rim. In another context, it might read like a sculpture by Maurizio Cattelan or any number of young artists given to sight gags. Like many of the objects in this show, however, the chandelier is a strong statement against taking art or design too seriously, and for mixing materials, histories, traditions and sensibilities as irreverently as possible.

David Gill Arguably the goofiest object at Salon is the “Jungle V.I.P.” chandelier from 2014, designed by <hl> Barnaby Barford <hl> .


Question: How long has Douglas elmendorf been in charge of the C.B.O?

Let’s start with some background. For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.

Answer: six years

Let’s start with some background. <hl> For the last six years , Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. <hl> (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.

Let’s start with some background. For the last <hl> six years <hl>, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.

For the last <hl> six years <hl> , Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult.


Question: Who decided to put in a new person to be head of the C.B.O.?

Answer: Republican leadership

Let’s start with some background. For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) <hl> Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. <hl> Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.

Let’s start with some background. For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new <hl> Republican leadership <hl> in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.


Question: Besides being a friend, what is Elmendorf's relationship to the author?

Answer: former student

Let’s start with some background. For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. <hl> (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. <hl> But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.

Let’s start with some background. For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. (Full disclosure: Mr. Elmendorf is a friend and <hl> former student <hl> of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.


Question: Who did Mr. Hall used to work for?

Answer: Bush administration

Let’s start with some background. For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. <hl> So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration , to be the new head of the budget office. <hl>

Let’s start with some background. For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the <hl> Bush administration <hl>, to be the new head of the budget office.

So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the <hl> Bush administration <hl> , to be the new head of the budget office.


Question: What political party does Elmendorf have a past connection to?

Answer: Democrats

Let’s start with some background. For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. <hl> Mr. Elmendorf has a long affiliation with Democrats , and the Republicans want someone who shares more of their perspective. <hl> As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.

Let’s start with some background. For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with <hl> Democrats <hl>, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.

Mr. Elmendorf has a long affiliation with <hl> Democrats <hl> , and the Republicans want someone who shares more of their perspective.


Question: For how long has Douglas Elmendorf been director of the C.B.O?

Answer: For the last six years

Let’s start with some background. <hl> For the last six years , Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. <hl> (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.

Let’s start with some background. <hl> For the last six years <hl>, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.

<hl> For the last six years <hl> , Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult.


Question: What has Douglas done a remarkable job of?

Answer: shepherding the institution through times that have been both economically and politically difficult

Let’s start with some background. <hl> For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult . <hl> (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.

Let’s start with some background. For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of <hl> shepherding the institution through times that have been both economically and politically difficult <hl>. (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.

For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of <hl> shepherding the institution through times that have been both economically and politically difficult <hl> .


Question: What relationship is between Mr. Elmendorf and the author?

Answer: a friend and former student

Let’s start with some background. For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. <hl> (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. <hl> But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.

Let’s start with some background. For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. (Full disclosure: Mr. Elmendorf is <hl> a friend and former student <hl> of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.


Question: What did the new Republican leadership in congress decide?

Answer: appoint someone new to head the C.B.O

Let’s start with some background. For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) <hl> Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O . <hl> That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.

Let’s start with some background. For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to <hl> appoint someone new to head the C.B.O <hl>. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.

Nonetheless, the new Republican leadership in Congress decided to <hl> appoint someone new to head the C.B.O <hl> .


Question: What did President Obama once say?

Answer: elections have consequences.

Let’s start with some background. For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. <hl> As President Obama once said, elections have consequences. That includes the Republican sweep of 2014. <hl> So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.

Let’s start with some background. For the last six years, Douglas Elmendorf has been the director of the C.B.O. By my judgment, he has done a remarkable job of shepherding the institution through times that have been both economically and politically difficult. (Full disclosure: Mr. Elmendorf is a friend and former student of mine, so I am not entirely objective. But many prominent policy wonks endorsed his reappointment.) Nonetheless, the new Republican leadership in Congress decided to appoint someone new to head the C.B.O. That decision is entirely understandable. Mr. Elmendorf has a long affiliation with Democrats, and the Republicans want someone who shares more of their perspective. As President Obama once said, <hl> elections have consequences. <hl> That includes the Republican sweep of 2014. So, on Friday, congressional leaders appointed Mr. Hall, a veteran of the Bush administration, to be the new head of the budget office.


Question: Who made a recent rule change?

We don’t yet know how Mr. Hall’s leadership will differ from Mr. Elmendorf’s but we do know that he will face a big challenge. House Republicans have recently changed the rules: The Congressional Budget Office and Joint Committee on Taxation are now required to use “dynamic scoring” when evaluating major changes in tax and spending policy. This is the can of worms that awaits Mr. Hall as he takes on his new job. Until now, conventional budget analysis has used a process called static scoring, which assumes that the path of gross domestic product remains the same when the government changes taxes or spending. This procedure has the virtues of simplicity and transparency.

Answer: House Republicans

We don’t yet know how Mr. Hall’s leadership will differ from Mr. Elmendorf’s but we do know that he will face a big challenge. <hl> House Republicans have recently changed the rules: The Congressional Budget Office and Joint Committee on Taxation are now required to use “dynamic scoring” when evaluating major changes in tax and spending policy. <hl> This is the can of worms that awaits Mr. Hall as he takes on his new job. Until now, conventional budget analysis has used a process called static scoring, which assumes that the path of gross domestic product remains the same when the government changes taxes or spending. This procedure has the virtues of simplicity and transparency.

We don’t yet know how Mr. Hall’s leadership will differ from Mr. Elmendorf’s but we do know that he will face a big challenge. <hl> House Republicans <hl> have recently changed the rules: The Congressional Budget Office and Joint Committee on Taxation are now required to use “dynamic scoring” when evaluating major changes in tax and spending policy. This is the can of worms that awaits Mr. Hall as he takes on his new job. Until now, conventional budget analysis has used a process called static scoring, which assumes that the path of gross domestic product remains the same when the government changes taxes or spending. This procedure has the virtues of simplicity and transparency.


Question: What method does the Joint Committee on Taxation and C.B.O. currently use to grade potentional policy changes?

Answer: dynamic scoring

We don’t yet know how Mr. Hall’s leadership will differ from Mr. Elmendorf’s but we do know that he will face a big challenge. <hl> House Republicans have recently changed the rules: The Congressional Budget Office and Joint Committee on Taxation are now required to use “ dynamic scoring ” when evaluating major changes in tax and spending policy. <hl> This is the can of worms that awaits Mr. Hall as he takes on his new job. Until now, conventional budget analysis has used a process called static scoring, which assumes that the path of gross domestic product remains the same when the government changes taxes or spending. This procedure has the virtues of simplicity and transparency.

We don’t yet know how Mr. Hall’s leadership will differ from Mr. Elmendorf’s but we do know that he will face a big challenge. House Republicans have recently changed the rules: The Congressional Budget Office and Joint Committee on Taxation are now required to use “<hl> dynamic scoring <hl>” when evaluating major changes in tax and spending policy. This is the can of worms that awaits Mr. Hall as he takes on his new job. Until now, conventional budget analysis has used a process called static scoring, which assumes that the path of gross domestic product remains the same when the government changes taxes or spending. This procedure has the virtues of simplicity and transparency.

House Republicans have recently changed the rules: The Congressional Budget Office and Joint Committee on Taxation are now required to use “ <hl> dynamic scoring <hl> ” when evaluating major changes in tax and spending policy.


Question: The process that makes the assumption that G.D.P. stays static when the government impliments spending or changes tax law is called what?

Answer: static scoring

We don’t yet know how Mr. Hall’s leadership will differ from Mr. Elmendorf’s but we do know that he will face a big challenge. House Republicans have recently changed the rules: The Congressional Budget Office and Joint Committee on Taxation are now required to use “dynamic scoring” when evaluating major changes in tax and spending policy. This is the can of worms that awaits Mr. Hall as he takes on his new job. <hl> Until now, conventional budget analysis has used a process called static scoring , which assumes that the path of gross domestic product remains the same when the government changes taxes or spending. <hl> This procedure has the virtues of simplicity and transparency.

We don’t yet know how Mr. Hall’s leadership will differ from Mr. Elmendorf’s but we do know that he will face a big challenge. House Republicans have recently changed the rules: The Congressional Budget Office and Joint Committee on Taxation are now required to use “dynamic scoring” when evaluating major changes in tax and spending policy. This is the can of worms that awaits Mr. Hall as he takes on his new job. Until now, conventional budget analysis has used a process called <hl> static scoring <hl>, which assumes that the path of gross domestic product remains the same when the government changes taxes or spending. This procedure has the virtues of simplicity and transparency.

Until now, conventional budget analysis has used a process called <hl> static scoring <hl> , which assumes that the path of gross domestic product remains the same when the government changes taxes or spending.


Question: Who is now in charge of the C.B.O?

Answer: Mr. Hall’s

<hl> We don’t yet know how Mr. Hall’s leadership will differ from Mr. Elmendorf’s <hl> but we do know that he will face a big challenge. House Republicans have recently changed the rules: The Congressional Budget Office and Joint Committee on Taxation are now required to use “dynamic scoring” when evaluating major changes in tax and spending policy. This is the can of worms that awaits Mr. Hall as he takes on his new job. Until now, conventional budget analysis has used a process called static scoring, which assumes that the path of gross domestic product remains the same when the government changes taxes or spending. This procedure has the virtues of simplicity and transparency.

We don’t yet know how <hl> Mr. Hall’s <hl> leadership will differ from Mr. Elmendorf’s but we do know that he will face a big challenge. House Republicans have recently changed the rules: The Congressional Budget Office and Joint Committee on Taxation are now required to use “dynamic scoring” when evaluating major changes in tax and spending policy. This is the can of worms that awaits Mr. Hall as he takes on his new job. Until now, conventional budget analysis has used a process called static scoring, which assumes that the path of gross domestic product remains the same when the government changes taxes or spending. This procedure has the virtues of simplicity and transparency.


Question: What's known of Mr. Hall's leadership?

Answer: he will face a big challenge

We don’t yet know how Mr. Hall’s leadership will differ from Mr. Elmendorf’s <hl> but we do know that he will face a big challenge . <hl> House Republicans have recently changed the rules: The Congressional Budget Office and Joint Committee on Taxation are now required to use “dynamic scoring” when evaluating major changes in tax and spending policy. This is the can of worms that awaits Mr. Hall as he takes on his new job. Until now, conventional budget analysis has used a process called static scoring, which assumes that the path of gross domestic product remains the same when the government changes taxes or spending. This procedure has the virtues of simplicity and transparency.

We don’t yet know how Mr. Hall’s leadership will differ from Mr. Elmendorf’s but we do know that <hl> he will face a big challenge <hl>. House Republicans have recently changed the rules: The Congressional Budget Office and Joint Committee on Taxation are now required to use “dynamic scoring” when evaluating major changes in tax and spending policy. This is the can of worms that awaits Mr. Hall as he takes on his new job. Until now, conventional budget analysis has used a process called static scoring, which assumes that the path of gross domestic product remains the same when the government changes taxes or spending. This procedure has the virtues of simplicity and transparency.

but we do know that <hl> he will face a big challenge <hl> .


Question: What have House Republicans recently done?

Answer: changed the rules

We don’t yet know how Mr. Hall’s leadership will differ from Mr. Elmendorf’s but we do know that he will face a big challenge. <hl> House Republicans have recently changed the rules : The Congressional Budget Office and Joint Committee on Taxation are now required to use “dynamic scoring” when evaluating major changes in tax and spending policy. <hl> This is the can of worms that awaits Mr. Hall as he takes on his new job. Until now, conventional budget analysis has used a process called static scoring, which assumes that the path of gross domestic product remains the same when the government changes taxes or spending. This procedure has the virtues of simplicity and transparency.

We don’t yet know how Mr. Hall’s leadership will differ from Mr. Elmendorf’s but we do know that he will face a big challenge. House Republicans have recently <hl> changed the rules <hl>: The Congressional Budget Office and Joint Committee on Taxation are now required to use “dynamic scoring” when evaluating major changes in tax and spending policy. This is the can of worms that awaits Mr. Hall as he takes on his new job. Until now, conventional budget analysis has used a process called static scoring, which assumes that the path of gross domestic product remains the same when the government changes taxes or spending. This procedure has the virtues of simplicity and transparency.

House Republicans have recently <hl> changed the rules <hl> : The Congressional Budget Office and Joint Committee on Taxation are now required to use “dynamic scoring” when evaluating major changes in tax and spending policy.


Question: What do new rules require when evaluating major changes in tax and spending policy

Answer: dynamic scoring

We don’t yet know how Mr. Hall’s leadership will differ from Mr. Elmendorf’s but we do know that he will face a big challenge. <hl> House Republicans have recently changed the rules: The Congressional Budget Office and Joint Committee on Taxation are now required to use “ dynamic scoring ” when evaluating major changes in tax and spending policy. <hl> This is the can of worms that awaits Mr. Hall as he takes on his new job. Until now, conventional budget analysis has used a process called static scoring, which assumes that the path of gross domestic product remains the same when the government changes taxes or spending. This procedure has the virtues of simplicity and transparency.

We don’t yet know how Mr. Hall’s leadership will differ from Mr. Elmendorf’s but we do know that he will face a big challenge. House Republicans have recently changed the rules: The Congressional Budget Office and Joint Committee on Taxation are now required to use “<hl> dynamic scoring <hl>” when evaluating major changes in tax and spending policy. This is the can of worms that awaits Mr. Hall as he takes on his new job. Until now, conventional budget analysis has used a process called static scoring, which assumes that the path of gross domestic product remains the same when the government changes taxes or spending. This procedure has the virtues of simplicity and transparency.

House Republicans have recently changed the rules: The Congressional Budget Office and Joint Committee on Taxation are now required to use “ <hl> dynamic scoring <hl> ” when evaluating major changes in tax and spending policy.


Question: What has used a process called static scoring until now?

Answer: conventional budget analysis

We don’t yet know how Mr. Hall’s leadership will differ from Mr. Elmendorf’s but we do know that he will face a big challenge. House Republicans have recently changed the rules: The Congressional Budget Office and Joint Committee on Taxation are now required to use “dynamic scoring” when evaluating major changes in tax and spending policy. This is the can of worms that awaits Mr. Hall as he takes on his new job. <hl> Until now, conventional budget analysis has used a process called static scoring, which assumes that the path of gross domestic product remains the same when the government changes taxes or spending. <hl> This procedure has the virtues of simplicity and transparency.

We don’t yet know how Mr. Hall’s leadership will differ from Mr. Elmendorf’s but we do know that he will face a big challenge. House Republicans have recently changed the rules: The Congressional Budget Office and Joint Committee on Taxation are now required to use “dynamic scoring” when evaluating major changes in tax and spending policy. This is the can of worms that awaits Mr. Hall as he takes on his new job. Until now, <hl> conventional budget analysis <hl> has used a process called static scoring, which assumes that the path of gross domestic product remains the same when the government changes taxes or spending. This procedure has the virtues of simplicity and transparency.