单选题 The cities in the United States have been the most visible sponsors and beneficiaries of projects that place art in public places. They have shown exceptional imagination in applying the diverse forms of contemporary art to a wide variety of purposes. The activities observed in a number of "pioneer" cities sponsoring art in public places—a broadening exploration of public sites, an increasing awareness among both sponsors and the public of the varieties of contemporary artistic practice, and a growing public enthusiasm—are increasingly characteristic of cities across the country. With many cities now undergoing renewed development, opportunities are continuously emerging for the inclusion or art in new or renewed public environments, including buildings, plazas, parks, and transportation facilities. The result of these activities is a group of artworks that reflect the diversity of contemporary art and the varying character and goals of the sponsoring communities. In sculpture, the projects range from a cartoon-like Mermaid in Miami Beach by Roy Lichtenstein to a small forest planted in New York City by Alan Sonfist. The use of murals followed quickly upon the use of sculpture and has brought to public sites the work of artists as different as the realist Thomas Hart Benton and the Pop artist Robert Rauschenberg. The specialized requirements of particular urban situations have further expanded the use of art in public places; in Memphis, sculptor Richard Hunt has crested a monument to Martin Luther King, Jr. who was slain there: in New York, Dan Flavin and Bill Brand have contributed neon and animation works to the enhancement of mass transit facilities. And in numerous cities, art is being raised as a symbol of the commitment to revitalize urban areas. By continuing to sponsor projects involving a growing body of art in public places, cities will certainly enlarge the situations in which the public encounters and grows familiar with the various forms of contemporary art. Indeed, cities are providing artists with an opportunity to communicate with a new and broader audience. Artists are recognizing the distinction between public and private spaces, and taking that into account when executing their public commissions. They are working in new, often more durable media, and on an unaccustomed scale.

单选题 What is the passage mainly about?

【正确答案】 B

【答案解析】解析：文章第一段讲的是，将艺术置于公共场所，美国各城市是最显著的项目主办方和受益者。第二段讲的是，应用于美国城市公共场所的各种当代艺术形式，包括雕塑、壁画，以及这些应用形式的不同目的。第三段讲的是，公共艺术对于公众、当代艺术以及艺术家们的影响。选项A只在第二段谈及，是片面的，不能概括全文；C、D两个选项文中没有提及，B选项符合文意。

单选题 All of the following are mentioned in Paragraph 1 as results of the trend toward installing contemporary art in public places in the United States EXCEPT______.

【正确答案】 A

【答案解析】解析：此题属于细节题，只能从文中找到对应的句子，然后进行排除。B选项定位于第一段的最后一句“…reflect…and the varying character and goals of the sponsoring communities”；C、D两个选项定位于第三句话的破折号部分“…an increasing awareness among…and the public of the varieties of contemporary artisticpractice，and a growing public enthusiasm…”。只有选项A没有被提及，故为答案。

单选题 According to the passage, new settings for public art are appearing as a result of______.

单选题 The author mentions Roy Lichtenstein and Alan Sonfist in Paragraph 2 in order to______.

单选题 It can be inferred from the passage that the city of Memphis sponsored a work by Richard Hunt because the city authorities believed that______.

【正确答案】 B

【答案解析】解析：此题定位于第二段例数第二句“The specialized requirements…further expanded the use of art in publicplaces：in Memphis，sculptor Richard Hunt…to Martin Luther King，Jr．，who was slain there…”。冒号后面是针对冒号前面的观点所举的例子，可判断孟菲斯赞助理查德·亨特的艺术作品必然与该城市的特殊要求有关；再根据冒号后面中的非限制性定语从句“who was slain there”判断，只有选项B符合文意。