Directions: Complete the following passage by using the words in the box. Each word can only be used once. Note that there is one word more than you need.

    The Smithsonian's National Portrait Gallery was preparing the wall text in 2014 to accompany an image of the boxer Mayweather Jr. During the process, the Washington museum decided to note that Mr. Mayweather had been“charged with domestic violence on several occasions,” receiving “punishments ranging from community service to jail time.”

    Such context is common for {#blank#}1{#/blank#} subjects in art, but far less so for artists themselves. Men like Picasso or Schiele were known for mistreating women, but their works hang in {#blank#}2{#/blank#} museums without any asterisks（星号）.

    Now, museums around the world are{#blank#}3{#/blank#} with the implications of a decision, by the National Gallery of Art in Washington, to {#blank#}4{#/blank#} postpone a Chuck Close exhibition because of {#blank#}5{#/blank#} of sexual harassment（骚扰）involving potential portrait models that have involved the artist in controversy. Mr. Cloze has called the allegations “lies” and said he is “being severely criticized.”

    The {#blank#}6{#/blank#} has raised difficult questions about what to do with the paintings and photographs of Mr. close—held by museums like the Metropolitan Museum of Art in New York, the Tate in London and the Pompidou in Paris, as well as by high-spending collectors—and whether the work of other artists accused of questionable {#blank#}7{#/blank#} needs to be revisited.

    It is a provocative（引起争论的）moment for the art world, as the public debate about {#blank#}8{#/blank#} creative output from personal behavior moves from popular culture into the realm of major visual artists from different eras and the institutions that have long collected and exhibited their pieces.

“We're very used to having to defend people in the collection, but it's always been for the sitter” rather than the artist, said Kim Sajet, director of the Portrait Gallery, which has a large body of Mr. Close's work. “Now we have to think to ourselves, ‘Do we need to do that about Chuck Close?'”

    “You can't talk about portraiture in America without talking about Chuck Close,” she added. “There are lots of amazing artists who have been less than admirable people.”

    Whatever museums {#blank#}9{#/blank#} decide to do about Mr. Close, some say they can no longer afford to simply present art without {#blank#}10{#/blank#} the issues that surround the artist—that institutions must play a more active role in educating the public about the human beings behind the work.

    The earth was just {#blank#}1{#/blank#} cloud of dust after the "Big Bang". The earth exploded loudly with fire and rock. {#blank#}2{#/blank#} were in time to produce many things，which were to make the earth's atmosphere. As the earth cooled down，water began to appear on{#blank#}3{#/blank#}surface. It allowed the earth to dissolve {#blank#}4{#/blank#} gases. Then life began to develop.

    Small plants multiplied and filled the first oceans and seas with oxygen. This encouraged the development of early shellfish and fish. Land animals such {#blank#}5{#/blank#}insects, reptiles and dinosaurs appeared after green plants appeared. Small clever animals spread all {#blank#}6{#/blank#} the earth. They {#blank#}7{#/blank#} putting too much carbon dioxide into the atmosphere, which prevents heat from {#blank#}8{#/blank#} from the earth into space. Whether life will continue on the earth for millions of years to come will depend {#blank#}9{#/blank#} whether this problem {#blank#}10{#/blank#} be solved.

    Now, let me say a few words to our American friends. Climate change is one of the major{#blank#}1{#/blank#}of our time. It is already changing our daily lives but it is global. Everyone is impacted. And if we do nothing, our children will know a world of migrations, of wars, of shortage. A dangerous world. It is not the future we want for ourselves. It is not the future we want for our children. It is not the future we want for our world.

    Today, the President of the United States, Donald Trump, announced his decision to {#blank#}2{#/blank#} the United States from the Paris Agreement. I do respect his decision, but I do think it is an actual mistake both for the US and for our planet.

    I just said it to President Trump, in a few words a few minutes ago this{#blank#}3{#/blank#}. Tonight, I wish to tell the United States: France believes in you. The world believes in you. I know that you are a great nation. I know your history, our common history.

To all the scientists, engineers, entrepreneurs, and responsible citizens who were disappointed by the decision of the president of the United States, I want to say they will find in France a second homeland. I call on them—come and work here with us, to work together on{#blank#}4{#/blank#}solutions for our climate, our environment. I can assure you: France will not give up the fight.

    I reaffirm clearly that Paris agreement will remain irreversible and will be {#blank#}5{#/blank#}not just by France, but by all the other nations. Over the coming hours, I will have the opportunity to speak with our main partners to define a common strategy and to launch new {#blank#}6{#/blank#}. I already know that I can count on them.

    I call on you to remain confidence. We will succeed, because we are {#blank#}7{#/blank#}, because wherever we live, whoever we are, we all share the same responsibility to make our planet great again.

Museums Rethink What to Do with Their African Art Collections

Recently, a discussion is happening in museums around the world over the volume of African art in their collections. Officials in Germany and the Netherlands have announced plans to return art and artifacts (文物) taken from Africa during the{#blank#}1{#/blank#}period. And more museum staff are meeting on the topic across Europe.

According to the most commonly{#blank#}2{#/blank#}figures from UNESCO（United Nations Educational, Scientifie and Cultural Organization）, 90% to 95%of sub-Saharan cultural artifacts are{#blank#}3{#/blank#}outside Africa. Many were taken by force long ago and ended up in museums across Europe and North America.

At the Africa Museum in Belgium, director Guido Gryseels says 85 percent of the-museum's collection comes from the Congo-the site of Belgium's{#blank#}4{#/blank#}colony in Central Africa. For decades, Congolese leaders have asked for these objects to be returned. Most of their{#blank#}5{#/blank#}, and those by African countries to other museums, have been refused.

But recent events in Europe have{#blank#}6{#/blank#}the possibility of returns at a much larger scale. In addition to the plans announced in Germany, last year France conducted a study of how much African art French museums are holding and made{#blank#}7{#/blank#}about what to do with it.

The study recommended the return of a wide range of objects taken by force. The suggestion got mixed{#blank#}8{#/blank#}in France, where there are at least 90000 African items in museums.

In France, some people have suggested returns could leave shelves{#blank#}9{#/blank#}in French museums. Cecile Fromont, a French historian of Central African art, says that's not going to happen. One way of thinking about it, she says, is that more African art can go on display.

However, Guido Gryseels of the Africa Museum in Belgium{#blank#}10{#/blank#}that attitudes are changing. He says he's in discussion with the Congo to return works.