input: In 1961, the museum began seeking a site for a larger building. The Whitney settled in 1966 at the southeast corner of Madison Avenue at 75th Street in Manhattan's Upper East Side. The building, planned and built 1963-1966 by Marcel Breuer and Hamilton P. Smith in a distinctively modern style, is easily distinguished from the neighboring townhouses by its staircase facade made from granite stones and its external upside-down windows. In 1967, Mauricio Lasansky showed The Nazi Drawings. The exhibition traveled to the Whitney Museum of American Art in New York, where they appeared with shows by Louise Nevelson and Andrew Wyeth as the first exhibits installed in the new museum. The institution grappled with space problems for decades. From 1973 to 1983 the Whitney operated its first branch at 55 Water Street, in a building owned by Harold Uris who gave the museum a lease for $1 a year. In 1983 Philip Morris installed a Whitney branch in the lobby of its Park Avenue headquarters. In 1981 the museum opened an exhibition space in Stamford, Connecticut, that was housed in Champion International Corporation. In the late 1980s, the Whitney entered into arrangements with Park Tower Realty, I.B.M. and The Equitable Life Assurance Society of the United States, setting up satellite museums with rotating exhibitions in the lobbies of their buildings. Each museum had its own director, and all plans were to be approved by a Whitney committee. The institution has tried to expand its landmark building and in 1978 commissioned UK architects Derek Walker and Norman Foster to design a tall tower alongside, the first of several proposals from leading architects. But each time the effort was abandoned, either because of the cost or the design or both. In order to secure additional space for the museum's collections, then-director Thomas N. Armstrong III developed plans for a 10-story, $37.5-million addition to the Whitney's main building. The proposed addition, designed by Michael Graves and announced in 1985, drew immediate opposition. Graves had proposed demolishing the flanking brownstones down to the East 74th Street corner for a complementary addition. After the project gradually lost the support of many of the museum's trustees, the plans were dropped in 1989. Between 1995 and 1998, the building underwent a renovation and addition by Richard Gluckman. In 2001, Rem Koolhaas was commissioned to submit two designs for a $200 million expansion; plans were dropped again in 2003, causing director Maxwell L. Anderson to resign. New York restaurateur Danny Meyer opened Untitled, a restaurant in the museum in March 2011. The space was designed by the Rockwell Group.

Answer this question "is that the only branch"
output: In 1983 Philip Morris installed a Whitney branch in the lobby of its Park Avenue headquarters.

input: Miller was elected governor of Georgia in 1990, defeating Republican Johnny Isakson (who later became his successor as U.S. Senator) after defeating Atlanta Mayor Andrew Young and future Governor Roy Barnes in the primary. Miller campaigned on the concept of term limits and pledged to seek only a single term as governor. He later ran for and won re-election in 1994. James Carville was Miller's campaign manager. In 1991, Miller endorsed Governor Bill Clinton of Arkansas for President of the United States. Miller gave the keynote speech at the 1992 Democratic National Convention at Madison Square Garden in New York City. In two oft-recalled lines, Miller said that President George H. W. Bush "just doesn't get it," and he remarked of a statement by Vice President Dan Quayle: As governor, Miller was a staunch promoter of public education. He helped found the HOPE Scholarship, which paid for the college tuition of Georgia students who both established a GPA of 3.0 in high school and maintained the same while in college, and who were from families earning less than $66,000 per year. The HOPE Scholarships were funded by revenue collected from the state lottery. In December 1995, his office announced a proposal for $1 billion more in spending on education. HOPE won praise from national Democratic leaders. The HOPE Scholarship program still to this day provides Georgia students with an opportunity to attend a public college or university, who otherwise may have no opportunity to do so. Upon leaving the governor's office in January 1999, Miller accepted teaching positions at Young Harris College, Emory University, and the University of Georgia. He was a visiting professor at all three institutions when he was appointed to the U.S. Senate.

Answer this question "Who worked in his campaign"
output:

input: The new band began a hectic schedule of performing in Britain and the World and prepared material for a new album. The result was the all-instrumental Expletive Delighted! (1986). This showcased the virtuosity of Sanders and Allcock, but perhaps inevitably was not popular with all fans. This was followed by the recording In Real Time: Live '87 which managed to capture the energy and power of the new Fairport on stage, despite the fact that it was recorded in the studio with audience reactions dubbed on. In this period the band were playing to larger and larger audiences, both on tour and at Cropredy, and it was very productive in terms of recording. Fairport had the considerable composing and arranging skills of Allcock and, to fill the gap created by a lack of a songwriter in the band, they turned to some of the most talented available in the contemporary folk scene. The results were Red & Gold (1989) The Five Seasons (1990) and Jewel in the Crown (1995), the last of which was judged 'their bestselling and undoubtedly finest album in years.' At this point, with Mattacks busy with other projects, the band shifted to an acoustic format for touring and released the unplugged Old, New, Borrow Blue as 'Fairport Acoustic Convention' in 1996. For a while the four-piece acoustic line-up ran in parallel with the electric format. When Allcock left the band, he was replaced by Chris Leslie on vocals, mandolin and fiddle, who formerly worked with Swarbrick in Whippersnapper, and had a one-off stint with the band replacing Ric Sanders for 1992 Cropredy Festival. This meant that for the first time since reforming, the band had a recognized songwriter who contributed significantly to the band's output on the next album Who Knows Where the Time Goes (1997), particularly the rousing 'John Gaudie'. By the time of the 1997 thirty-year anniversary Festival at Cropredy, the new Fairport had been in existence for over a decade and contributed a significant chapter to the history of the band.

Answer this question "was its release a success?"
output:
For a while the four-piece acoustic line-up ran in parallel with the electric format.