Write a question from the passage such that it identifies a character (a person or a thing) in the passage.

Example Input: WHITE HOUSE President Donald Trump on Monday declared he has an "absolute right" to pardon himself and then also tweeted his assertion that the federal government investigation into ties between his 2016 election campaign and Russia is "totally unconstitutional."
While Trump has frequently ignored established norms and challenged the understood limits of presidential powers, his latest comments are viewed by some legal scholars as unprecedented and testing constitutional boundaries.
"I was shocked" by Trump's tweets, said Susan Low Bloch, a law professor at Georgetown University.
"No president has ever tried it," she told VOA News. "It's unlikely the president can pardon himself. I think the court would say no" and if he did give himself a pardon, "most congresses would impeach him."
Bloch also notes when most people accept a pardon "it's an admission of guilt," thus it would be a bad idea for Trump to pursue such a course of action.
The professor, who has testified before the Senate on whether a president can be indicted and tried while in office, says the special counsel is "absolutely constitutional."
Another constitutional scholar, Keith Whittington at Princeton University, said, "I think it is important to note that the president's comments reference serious arguments that are being debated by legal scholars, but these are difficult and unusual constitutional questions that would ultimately be answered in the courts."
According to Northwestern University Law Professor Andrew Koppelman, "Trump's position on pardons is consistent with the Constitution's text, but inconsistent with the overall structure. It means that the President could commit capital treason, or any other federal crime, and then immediately pardon himself.
"It means that he could commit murder in the White House," Koppelman said. "It makes no sense within the Constitution as a whole."
Asked by reporters Monday about Trump's comment on his ability to pardon himself, White House Press Secretary Sarah Sanders repeatedly replied: "The president hasn't done anything wrong."
Whittington, a professor of politics, told VOA News, "The courts have recognized some implicit limits on the pardoning power in the past and they would have to assess whether a self-pardon is legally valid or falls outside the scope of the pardoning power. It is not obvious how the courts might respond to such an unusual pardon."
Example Output: Who does Whittington say will have to assess whether a self-pardon is legally valid or falls outside of the legal pardoning power?

Example Input: One of the more surprising objects in the Getty Villa's newly reinstalled gallery of later Roman sculpture is a marble bust of a youth leaning out of a circular frame, mounted high on the gallery wall. J. Paul Getty originally acquired this particular sculpture in 1973, but it has been off view for many years. The recent reinstallation of the Getty Museum's antiquities collection at the Villa provided the opportunity to resurrect many such objects from storage and put them on display.
Bringing this strange object back to the public eye enabled us to askand answerseveral questions about it. Whoif anyonedoes it represent? When was it carved? Where was it made, and how did it end up in Los Angeles? In preparation for its display, we researched and reinterpreted the object, exploring both its ancient function and modern history.
In its new display, this object is fittingly surrounded by other examples of late Roman sculpture from the third and fourth centuries. Its inclusion in this gallery was not always a given, however, as the figure was long misidentified as a portrait of young Caracalla, who at ten years old became joint emperor with his father in A.D. 198.(1) But recent scholarship questioned the Caracalla identification and the object's date, suggesting it was carved at least a hundred years later.(2) In light of this research, curator Jens Daehner pushed to reexamine the sculpture and consider including it in the reinstallation.
In early 2015, the Antiquities Department brought this tondo and many other potential objects for the new galleries out of storage for viewing, providing curators, conservators, mount makers, preps, and registrars a chance to approve and prepare artworks for possible display.
After the storage viewing and subsequent research, we updated the object record to conform with what scholars had suggested: this is not a second-century portrait of Caracalla but a fourth-century bust of a youth or divinity. To answer our next question of who the tondo represents, we then had to take a closer look at the curious origin and function of this sculpture type.
Example Output: Who owned the large estate?

Example Input: Bryan C. Keene and Alexandra Kaczenski of the Getty Museum's Manuscripts Department have spent the last few years preparing for an exhibition and publication titled Sacred Landscapes: Nature in Renaissance Manuscripts that aims to examine representations of "green spaces" such as gardens, vistas, and their relation to the divine.
In particular, Bryan and Alexandra focus on the ways in which artists during the European Middle Ages and Renaissance embedded the pages of illuminated manuscripts with depictions of the natural world so that nature could guide prayer, chant, and meditation.
For Bryan, this project represents a continuation of his interest in sacred gardens that began with his graduate work on the garden imagery that influenced Botticelli's Agony in the Garden painting. In 2013 he curated the exhibition and authored the accompanying book Gardens of the Renaissance.
For Alexandra, interest in this subject stems from her scholarly focus on Flemish manuscripts and their relation to Flemish landscape paintings. She brought to the project a complementary interest in issues of environmental and landscape destruction, which also were themes of the exhibition and publication.
Though floral and nature studies of the Renaissance and Early Modern periods have been extensively investigatedthe scientific notebooks of Leonardo da Vinci, for example, are well documentedthis exhibition turns its focus on landscape and the divine. Curatorial research has shed new light on subjects such as the seemingly "scattered" floral arrangements represented within the pages of these books and their relationship to humoral theory and religion. Bryan adds, "The tension that we find in these borders is, on the one hand, intricately rendered leaf and petal structures of plants or flowers, and on the other, hidden whimsical elements, all of which combine to create a rich tapestry of meaning, both symbolic and scientific. Alex and I will continue to explore the potential meaning within this botanical and arboreal chaos."
Sacred Landscapes opens on October 10, 2017, at the Getty Museum, where it complements the exhibition Giovanni Bellini: Landscapes of Faith in Renaissance Venice. The exhibition catalog is available online now.
Example Output:
Who spent the last few years preparing for an exhibition titled Sacred Landscapes?