In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

[Q]: Passage: In the early 1970s, critics charged that Dylan's output was varied and unpredictable. Rolling Stone writer Greil Marcus asked "What is this shit?" on first listening to Self Portrait, released in June 1970. It was a double LP including few original songs, and was poorly received. In October 1970, Dylan released New Morning, considered a return to form. This album included "Day of the Locusts", a song in which Dylan gave an account of receiving an honorary degree from Princeton University on June 9, 1970. In November 1968, Dylan had co-written "I'd Have You Anytime" with George Harrison; Harrison recorded "I'd Have You Anytime" and Dylan's "If Not for You" for his 1970 solo triple album All Things Must Pass. Dylan's surprise appearance at Harrison's 1971 Concert for Bangladesh attracted media coverage, reflecting that Dylan's live appearances had become rare.Between March 16 and 19, 1971, Dylan reserved three days at Blue Rock, a small studio in Greenwich Village, to record with Leon Russell. These sessions resulted in "Watching the River Flow" and a new recording of "When I Paint My Masterpiece". On November 4, 1971, Dylan recorded "George Jackson", which he released a week later. For many, the single was a surprising return to protest material, mourning the killing of Black Panther George Jackson in San Quentin State Prison that year. Dylan contributed piano and harmony to Steve Goodman's album, Somebody Else's Troubles, under the pseudonym Robert Milkwood Thomas (referencing the play Under Milk Wood by Dylan Thomas and his own previous name) in September 1972.In 1972, Dylan signed to Sam Peckinpah's film Pat Garrett and Billy the Kid, providing songs and backing music for the movie, and playing "Alias", a member of Billy's gang with some historical basis. Despite the film's failure at the box office, the song "Knockin' on Heaven's Door" became one of Dylan's most covered songs.Also in 1972, Dylan protested the move to deport John Lennon and Yoko Ono, who had been convicted of possessing cannabis, by sending a letter to the U.S. Immigration Service, in part: "Hurray for John & Yoko. Let them stay and live here and breathe. The country's got plenty of room and space. Let John and Yoko stay!".
[A]: What is the full name of the person that released a solo triple album in 1970?

[Q]: Passage: Three princely states bordering IndiaNepal, Bhutan and Sikkimwere not integrated into the Republic of India in the period between 1947 and 1950. Nepal had been recognised by the British and the Government of India as being de jure independent. Bhutan had in the British period been considered a protectorate outside the international frontier of India. The Government of India entered into a treaty with Bhutan in 1949 continuing this arrangement, and providing that Bhutan would abide by the advice of the Government of India in the conduct of its external affairs.Historically, Sikkim was a British dependency, with a status similar to that of the other princely states, and was therefore considered to be within the frontiers of India in the colonial period. On independence, however, the Chogyal of Sikkim resisted full integration into India. Given the region's strategic importance to India, the Government of India signed first a Standstill Agreement and then in 1950 a full treaty with the Chogyal of Sikkim which in effect made it a protectorate which was no longer part of India. India had responsibility for defence, external affairs and communications, and ultimate responsibility for law and order, but Sikkim was otherwise given full internal autonomy. In the late 1960s and early 1970s, the Chogyal Palden Thondup Namgyal, supported by the minority Bhutia and Lepcha upper classes, attempted to negotiate greater powers, particularly over external affairs, to give Sikkim more of an international personality. These policies were opposed by Kazi Lhendup Dorji and the Sikkim State Congress, who represented the ethnic Nepali middle classes and took a more pro-Indian view.In April 1973, anti-Chogyal agitation broke out and protestors demanded popular elections. The Sikkim police were unable to control the demonstrations, and Dorji asked India to exercise its responsibility for law and order and intervene. India facilitated negotiations between the Chogyal and Dorji, and produced an agreement, which envisaged the reduction of the Chogyal to the role of a constitutional monarch and the holding of elections based on a new ethnic power-sharing formula. The Chogyal's opponents won an overwhelming victory, and a new Constitution was drafted providing for Sikkim to be associated with the Republic of India. On 10 April 1975, the Sikkim Assembly passed a resolution calling for the state to be fully integrated into India. This resolution was endorsed by 97 percent of the vote in a referendum held on 14 April 1975, following which the Indian Parliament amended the constitution to admit Sikkim into India as its 22nd state.
[A]: What state did the Government of India sign a Standstill Agreement with first?

[Q]: Passage: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brancusi, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Academie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.
[A]:
What museums did the man who the Leeds School of Art set up a sculpture studio for study at in London?