(Q).
Read the following context and choose the correct option to answer the question. Context: 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... Question: Why did Bryan pursue the project Sacred Landscapes? Options: A. it is a continuation of his interest in sacred gardens that began during his graduate work B. it is a continuation of his interest in sacred gardens that began during his high school years C. it was his mother's favorite D. not enough information
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A

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Read the following context and choose the correct option to answer the question. Context: 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... Question: After the bust's creation date was corrected, gallery workers probably: Options: A. not enough information B. Went on vacation C. Continued to research other aspects of it D. Put it back in storage
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C

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Read the following context and choose the correct option to answer the question. Context: What would you do you're driving past hundreds of citrus trees. With a better look, they're mandarins, or, more precisely clementines. On the roadside is a truck selling crates of them for 1 euro a kilo. You stop, right? And buy a crate of 10 kilos. Even though you have to get on a plane the next day. I couldn't help myself. Marco, who I had already made turn 180 degrees to drive back to the truck, gave me that look of disapproval when I want to do something totally unreasonable like impulse buy citrus fruit that we can't keep. "What are we going to do with these?" He questioned. I wasn't sure. I wanted to taste them, I wanted to photograph them. And maybe I could even squeeze some of them into our tiny bag to take home. "It won't be a waste, I'll give the rest away!" I reasoned. He just shook his head, giving in. I bought them, a big grin on my face. We were just outside the port city of Taranto, on the western coast of Puglia in Italy's deep south, where we spent a long weekend recently and where clementines have special IGP (Protected Geographical Indication) status. These clementines a hybrid of oranges and mandarins grow in the fertile soil around the gulf of Taranto, particularly around the town of Palagiano (also known as "the city of clementines" they celebrate the symbol of their city with a sagra, a food festival, every December) and the delicate fruit is harvested by hand. We don't get these in Florence, it was my only chance to taste them they are small with very few, if any, seeds, and they are very sweet. Question: What did the author intended to squeeze? Options: A. A grin B. A fruit C. A tough object D. not enough information
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B