Marta Coll and colleagues’ 2010 Mediterranean Sea biodiversity census reported approximately 17,000 species, nearly double the number reported in Carlo Bianchi and Carla Morri’s 2000 census—a difference only partly attributable to the description of new invertebrate species in the interim. Another factor is that the morphological variability of microorganisms is poorly understood compared to that of vertebrates, invertebrates, plants, and algae, creating uncertainty about how to evaluate microorganisms as species. Researchers’ decisions on such matters therefore can be highly consequential. Indeed, the two censuses reported similar counts of vertebrate, plant, and algal species, suggesting that ______ Which choice most logically completes the text?
A common assumption among art historians is that the invention of photography in the mid-nineteenth century displaced the painted portrait in the public consciousness. The diminishing popularity of the portrait miniature, which coincided with the rise of photography, seems to support this claim. However, photography’s impact on the portrait miniature may be overstated. Although records from art exhibitions in the Netherlands from 1820 to 1892 show a decrease in the number of both full-sized and miniature portraits submitted, this trend was established before the invention of photography. Based on the text, what can be concluded about the diminishing popularity of the portrait miniature in the nineteenth century?
Believing that living in an impractical space can heighten awareness and even improve health, conceptual artists Madeline Gins and Shusaku Arakawa designed an apartment building in Japan to be more fanciful than functional. A kitchen counter is chest-high on one side and knee-high on the other; a ceiling has a door to nowhere. The effect is disorienting but invigorating: after four years there, filmmaker Nobu Yamaoka reported significant health benefits. Which choice best states the main idea of the text?
In her 2021 article “Throwaway History: Towards a Historiography of Ephemera,” scholar Anne Garner discusses John Johnson (1882–1956), a devoted collector of items intended to be discarded, including bus tickets and campaign pamphlets. Johnson recognized that scholarly institutions considered his expansive collection of ephemera to be worthless—indeed, it wasn’t until 1968, after Johnson’s death, that Oxford University’s Bodleian Library acquired the collection, having grasped the items’ potential value to historians and other researchers. Hence, the example of Johnson serves to ______ Which choice most logically completes the text?
The most recent iteration of the immersive theater experience Sleep No More, which premiered in New York City in 2011, transforms its performance space—a five-story warehouse—into a 1930s-era hotel. Audience members, who wander through the labyrinthine venue at their own pace and follow the actors as they play out simultaneous, interweaving narrative loops, confront the impossibility of experiencing the production in its entirety. The play’s refusal of narrative coherence thus hinges on the sense of spatial fragmentation that the venue’s immense and intricate layout generates. What does the text most strongly suggest about Sleep No More’s use of its performance space?
