The Japanese American sculptor Isamu Noguchi (1904–1988) was an artist who intuitively asked—and responded to—deeply original questions. He might well have become a scientist within a standard scientific discipline, but he instead became an artist who repeatedly veered off at wide angles from the well-known courses followed by conventionally talented artists of both the traditional and modern schools. The story behind one particular sculpture typifies this aspect of his creativeness.

By his early twenties, Noguchi’s sculptures showed such exquisite comprehension of human anatomy and deft conceptual realization that he won a Guggenheim Fellowship for travel in Europe. After arriving in Paris in 1927, Noguchi asked the Romanian-born sculptor Constantin Brancusi if he might become his student. When Brancusi said no, that he never took students, Noguchi asked if he needed a stonecutter. Brancusi did. Noguchi cut and polished stone for Brancusi in his studio, frequently also polishing Brancusi’s brass and bronze sculptures. Noguchi, with his scientist’s mind, pondered the fact that sculptors through the ages had relied exclusively upon negative light—that is, shadows—for their (25) conceptual communication, precisely because no metals, other than the expensive, nonoxidizing gold, could be relied upon to give off positive-light reflections. (27)

Noguchi wanted to create a sculpture that was purely reflective. In 1929, after returning to the United States, he met the architect and philosopher R. Buckminster Fuller, offering to sculpt a portrait of him. When Fuller heard of Noguchi’s ideas regarding positive-light sculpture, he suggested using chrome-nickel steel, which Henry Ford, through automotive research and development, had just made commercially available for the first time in history. Here, finally, was a permanently reflective surface, economically available in massive quantities.

In sculpting his portrait of Fuller, Noguchi did not think of it as merely a shiny alternate model of traditional, negative-light sculptures. What he saw was that completely reflective surfaces provided a fundamental invisibility of surface like that of utterly still waters, whose presence can be apprehended only when objects—a ship’s mast, a tree, or sky—are reflected in them. Seaplane pilots making offshore landings in dead calm cannot tell where the water is and must glide in, waiting for the unpredictable touchdown. Noguchi conceived a similarly invisible sculpture, hidden in and communicating through the reflections of images surrounding it. Then only the distortion of familiar shapes in the surrounding environment could be seen by the viewer. The viewer’s awareness of the “invisible” sculpture’s presence and dimensional relationships would be derived only secondarily. Even after this stunning discovery, Noguchi remained faithful to his inquisitive nature. At the moment when his explorations had won critical recognition of the genius of his original and fundamental conception, Noguchi proceeded to the next phase of his evolution.

1. In saying that “no metals, other than the expensive, nonoxidizing gold, could be relied upon to give off positive-light reflections” (lines 25–27), the author draws a distinction between

The Japanese American sculptor Isamu Noguchi (1904–1988) was an artist who intuitively asked—and responded to—deeply original questions. He might well have become a scientist within a standard scientific discipline, but he instead became an artist who repeatedly veered off at wide angles from the well-known courses followed by conventionally talented artists of both the traditional and modern schools. The story behind one particular sculpture typifies this aspect of his creativeness.

By his early twenties, Noguchi’s sculptures showed such exquisite comprehension of human anatomy and deft conceptual realization that he won a Guggenheim Fellowship for travel in Europe. After arriving in Paris in 1927, Noguchi asked the Romanian-born sculptor Constantin Brancusi if he might become his student. When Brancusi said no, that he never took students, Noguchi asked if he needed a stonecutter. Brancusi did. Noguchi cut and polished stone for Brancusi in his studio, frequently also polishing Brancusi’s brass and bronze sculptures. Noguchi, with his scientist’s mind, pondered the fact that sculptors through the ages had relied exclusively upon negative light—that is, shadows—for their conceptual communication, precisely because no metals, other than the expensive, nonoxidizing gold, could be relied upon to give off positive-light reflections.

Noguchi wanted to create a sculpture that was purely reflective. In 1929, after returning to the United States, he met the architect and philosopher R. Buckminster Fuller, offering to sculpt a portrait of him. When Fuller heard of Noguchi’s ideas regarding positive-light sculpture, he suggested using chrome-nickel steel, which Henry Ford, through automotive research and development, had just made commercially available for the first time in history. Here, finally, was a permanently reflective surface, economically available in massive quantities.

In sculpting his portrait of Fuller, Noguchi did not think of it as merely a shiny alternate model of traditional, negative-light sculptures. What he saw was that completely reflective surfaces provided a fundamental invisibility of surface like that of utterly still waters, whose presence can be apprehended only when objects—a ship’s mast, a tree, or sky—are reflected in them. Seaplane pilots making offshore landings in dead calm cannot tell where the water is and must glide in, waiting for the unpredictable touchdown. Noguchi conceived a similarly invisible sculpture, hidden in and communicating through the reflections of images surrounding it. Then only the distortion of familiar shapes in the surrounding environment could be seen by the viewer. The viewer’s awareness of the “invisible” sculpture’s presence and dimensional relationships would be derived only secondarily. Even after this stunning discovery, Noguchi remained faithful to his inquisitive nature. At the moment when his explorations had won critical recognition of the genius of his original and fundamental conception, Noguchi proceeded to the next phase of his evolution.

2. The passage provides information sufficient to answer which one of the following questions?

The Japanese American sculptor Isamu Noguchi (1904–1988) was an artist who intuitively asked—and responded to—deeply original questions. He might well have become a scientist within a standard scientific discipline, but he instead became an artist who repeatedly veered off at wide angles from the well-known courses followed by conventionally talented artists of both the traditional and modern schools. The story behind one particular sculpture typifies this aspect of his creativeness.

By his early twenties, Noguchi’s sculptures showed such exquisite comprehension of human anatomy and deft conceptual realization that he won a Guggenheim Fellowship for travel in Europe. After arriving in Paris in 1927, Noguchi asked the Romanian-born sculptor Constantin Brancusi if he might become his student. When Brancusi said no, that he never took students, Noguchi asked if he needed a stonecutter. Brancusi did. Noguchi cut and polished stone for Brancusi in his studio, frequently also polishing Brancusi’s brass and bronze sculptures. Noguchi, with his scientist’s mind, pondered the fact that sculptors through the ages had relied exclusively upon negative light—that is, shadows—for their conceptual communication, precisely because no metals, other than the expensive, nonoxidizing gold, could be relied upon to give off positive-light reflections.

Noguchi wanted to create a sculpture that was purely reflective. In 1929, after returning to the United States, he met the architect and philosopher R. Buckminster Fuller, offering to sculpt a portrait of him. When Fuller heard of Noguchi’s ideas regarding positive-light sculpture, he suggested using chrome-nickel steel, which Henry Ford, through automotive research and development, had just made commercially available for the first time in history. Here, finally, was a permanently reflective surface, economically available in massive quantities.

In sculpting his portrait of Fuller, Noguchi did not think of it as merely a shiny alternate model of traditional, negative-light sculptures. What he saw was that completely reflective surfaces provided a fundamental invisibility of surface like that of utterly still waters, whose presence can be apprehended only when objects—a ship’s mast, a tree, or sky—are reflected in them. Seaplane pilots making offshore landings in dead calm cannot tell where the water is and must glide in, waiting for the unpredictable touchdown. Noguchi conceived a similarly invisible sculpture, hidden in and communicating through the reflections of images surrounding it. Then only the distortion of familiar shapes in the surrounding environment could be seen by the viewer. The viewer’s awareness of the “invisible” sculpture’s presence and dimensional relationships would be derived only secondarily. Even after this stunning discovery, Noguchi remained faithful to his inquisitive nature. At the moment when his explorations had won critical recognition of the genius of his original and fundamental conception, Noguchi proceeded to the next phase of his evolution.

3. The passage offers the strongest evidence that the author would agree with which one of the following statements?

The Japanese American sculptor Isamu Noguchi (1904–1988) was an artist who intuitively asked—and responded to—deeply original questions. He might well have become a scientist within a standard scientific discipline, but he instead became an artist who repeatedly veered off at wide angles from the well-known courses followed by conventionally talented artists of both the traditional and modern schools. The story behind one particular sculpture typifies this aspect of his creativeness.

By his early twenties, Noguchi’s sculptures showed such exquisite comprehension of human anatomy and deft conceptual realization that he won a Guggenheim Fellowship for travel in Europe. After arriving in Paris in 1927, Noguchi asked the Romanian-born sculptor Constantin Brancusi if he might become his student. When Brancusi said no, that he never took students, Noguchi asked if he needed a stonecutter. Brancusi did. Noguchi cut and polished stone for Brancusi in his studio, frequently also polishing Brancusi’s brass and bronze sculptures. Noguchi, with his scientist’s mind, pondered the fact that sculptors through the ages had relied exclusively upon negative light—that is, shadows—for their conceptual communication, precisely because no metals, other than the expensive, nonoxidizing gold, could be relied upon to give off positive-light reflections.

Noguchi wanted to create a sculpture that was purely reflective. In 1929, after returning to the United States, he met the architect and philosopher R. Buckminster Fuller, offering to sculpt a portrait of him. When Fuller heard of Noguchi’s ideas regarding positive-light sculpture, he suggested using chrome-nickel steel, which Henry Ford, through automotive research and development, had just made commercially available for the first time in history. Here, finally, was a permanently reflective surface, economically available in massive quantities.

In sculpting his portrait of Fuller, Noguchi did not think of it as merely a shiny alternate model of traditional, negative-light sculptures. What he saw was that completely reflective surfaces provided a fundamental invisibility of surface like that of utterly still waters, whose presence can be apprehended only when objects—a ship’s mast, a tree, or sky—are reflected in them. Seaplane pilots making offshore landings in dead calm cannot tell where the water is and must glide in, waiting for the unpredictable touchdown. Noguchi conceived a similarly invisible sculpture, hidden in and communicating through the reflections of images surrounding it. Then only the distortion of familiar shapes in the surrounding environment could be seen by the viewer. The viewer’s awareness of the “invisible” sculpture’s presence and dimensional relationships would be derived only secondarily. Even after this stunning discovery, Noguchi remained faithful to his inquisitive nature. At the moment when his explorations had won critical recognition of the genius of his original and fundamental conception, Noguchi proceeded to the next phase of his evolution.

4. In which one of the following is the relation between the two people most analogous to the relation between Ford and Noguchi as indicated by the passage?

The Japanese American sculptor Isamu Noguchi (1904–1988) was an artist who intuitively asked—and responded to—deeply original questions. He might well have become a scientist within a standard scientific discipline, but he instead became an artist who repeatedly veered off at wide angles from the well-known courses followed by conventionally talented artists of both the traditional and modern schools. The story behind one particular sculpture typifies this aspect of his creativeness.

By his early twenties, Noguchi’s sculptures showed such exquisite comprehension of human anatomy and deft conceptual realization that he won a Guggenheim Fellowship for travel in Europe. After arriving in Paris in 1927, Noguchi asked the Romanian-born sculptor Constantin Brancusi if he might become his student. When Brancusi said no, that he never took students, Noguchi asked if he needed a stonecutter. Brancusi did. Noguchi cut and polished stone for Brancusi in his studio, frequently also polishing Brancusi’s brass and bronze sculptures. Noguchi, with his scientist’s mind, pondered the fact that sculptors through the ages had relied exclusively upon negative light—that is, shadows—for their conceptual communication, precisely because no metals, other than the expensive, nonoxidizing gold, could be relied upon to give off positive-light reflections.

Noguchi wanted to create a sculpture that was purely reflective. In 1929, after returning to the United States, he met the architect and philosopher R. Buckminster Fuller, offering to sculpt a portrait of him. When Fuller heard of Noguchi’s ideas regarding positive-light sculpture, he suggested using chrome-nickel steel, which Henry Ford, through automotive research and development, had just made commercially available for the first time in history. Here, finally, was a permanently reflective surface, economically available in massive quantities.

In sculpting his portrait of Fuller, Noguchi did not think of it as merely a shiny alternate model of traditional, negative-light sculptures. What he saw was that completely reflective surfaces provided a fundamental invisibility of surface like that of utterly still waters, whose presence can be apprehended only when objects—a ship’s mast, a tree, or sky—are reflected in them. Seaplane pilots making offshore landings in dead calm cannot tell where the water is and must glide in, waiting for the unpredictable touchdown. Noguchi conceived a similarly invisible sculpture, hidden in and communicating through the reflections of images surrounding it. Then only the distortion of familiar shapes in the surrounding environment could be seen by the viewer. The viewer’s awareness of the “invisible” sculpture’s presence and dimensional relationships would be derived only secondarily. Even after this stunning discovery, Noguchi remained faithful to his inquisitive nature. At the moment when his explorations had won critical recognition of the genius of his original and fundamental conception, Noguchi proceeded to the next phase of his evolution.

5. The passage most strongly supports which one of the following inferences?

The Japanese American sculptor Isamu Noguchi (1904–1988) was an artist who intuitively asked—and responded to—deeply original questions. He might well have become a scientist within a standard scientific discipline, but he instead became an artist who repeatedly veered off at wide angles from the well-known courses followed by conventionally talented artists of both the traditional and modern schools. The story behind one particular sculpture typifies this aspect of his creativeness.

By his early twenties, Noguchi’s sculptures showed such exquisite comprehension of human anatomy and deft conceptual realization that he won a Guggenheim Fellowship for travel in Europe. After arriving in Paris in 1927, Noguchi asked the Romanian-born sculptor Constantin Brancusi if he might become his student. When Brancusi said no, that he never took students, Noguchi asked if he needed a stonecutter. Brancusi did. Noguchi cut and polished stone for Brancusi in his studio, frequently also polishing Brancusi’s brass and bronze sculptures. Noguchi, with his scientist’s mind, pondered the fact that sculptors through the ages had relied exclusively upon negative light—that is, shadows—for their conceptual communication, precisely because no metals, other than the expensive, nonoxidizing gold, could be relied upon to give off positive-light reflections.

Noguchi wanted to create a sculpture that was purely reflective. In 1929, after returning to the United States, he met the architect and philosopher R. Buckminster Fuller, offering to sculpt a portrait of him. When Fuller heard of Noguchi’s ideas regarding positive-light sculpture, he suggested using chrome-nickel steel, which Henry Ford, through automotive research and development, had just made commercially available for the first time in history. Here, finally, was a permanently reflective surface, economically available in massive quantities.

In sculpting his portrait of Fuller, Noguchi did not think of it as merely a shiny alternate model of traditional, negative-light sculptures. What he saw was that completely reflective surfaces provided a fundamental invisibility of surface like that of utterly still waters, whose presence can be apprehended only when objects—a ship’s mast, a tree, or sky—are reflected in them. Seaplane pilots making offshore landings in dead calm cannot tell where the water is and must glide in, waiting for the unpredictable touchdown. Noguchi conceived a similarly invisible sculpture, hidden in and communicating through the reflections of images surrounding it. Then only the distortion of familiar shapes in the surrounding environment could be seen by the viewer. The viewer’s awareness of the “invisible” sculpture’s presence and dimensional relationships would be derived only secondarily. Even after this stunning discovery, Noguchi remained faithful to his inquisitive nature. At the moment when his explorations had won critical recognition of the genius of his original and fundamental conception, Noguchi proceeded to the next phase of his evolution.

6. Which one of the following inferences about the portrait of Fuller does the passage most strongly support?

The Japanese American sculptor Isamu Noguchi (1904–1988) was an artist who intuitively asked—and responded to—deeply original questions. He might well have become a scientist within a standard scientific discipline, but he instead became an artist who repeatedly veered off at wide angles from the well-known courses followed by conventionally talented artists of both the traditional and modern schools. The story behind one particular sculpture typifies this aspect of his creativeness.

By his early twenties, Noguchi’s sculptures showed such exquisite comprehension of human anatomy and deft conceptual realization that he won a Guggenheim Fellowship for travel in Europe. After arriving in Paris in 1927, Noguchi asked the Romanian-born sculptor Constantin Brancusi if he might become his student. When Brancusi said no, that he never took students, Noguchi asked if he needed a stonecutter. Brancusi did. Noguchi cut and polished stone for Brancusi in his studio, frequently also polishing Brancusi’s brass and bronze sculptures. Noguchi, with his scientist’s mind, pondered the fact that sculptors through the ages had relied exclusively upon negative light—that is, shadows—for their conceptual communication, precisely because no metals, other than the expensive, nonoxidizing gold, could be relied upon to give off positive-light reflections.

Noguchi wanted to create a sculpture that was purely reflective. In 1929, after returning to the United States, he met the architect and philosopher R. Buckminster Fuller, offering to sculpt a portrait of him. When Fuller heard of Noguchi’s ideas regarding positive-light sculpture, he suggested using chrome-nickel steel, which Henry Ford, through automotive research and development, had just made commercially available for the first time in history. Here, finally, was a permanently reflective surface, economically available in massive quantities.

In sculpting his portrait of Fuller, Noguchi did not think of it as merely a shiny alternate model of traditional, negative-light sculptures. What he saw was that completely reflective surfaces provided a fundamental invisibility of surface like that of utterly still waters, whose presence can be apprehended only when objects—a ship’s mast, a tree, or sky—are reflected in them. Seaplane pilots making offshore landings in dead calm cannot tell where the water is and must glide in, waiting for the unpredictable touchdown. Noguchi conceived a similarly invisible sculpture, hidden in and communicating through the reflections of images surrounding it. Then only the distortion of familiar shapes in the surrounding environment could be seen by the viewer. The viewer’s awareness of the “invisible” sculpture’s presence and dimensional relationships would be derived only secondarily. Even after this stunning discovery, Noguchi remained faithful to his inquisitive nature. At the moment when his explorations had won critical recognition of the genius of his original and fundamental conception, Noguchi proceeded to the next phase of his evolution.

7. Which one of the following would, if true, most weaken the author’s position in the passage?