Direction: 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.

    Red grouper(石斑鱼) are known for a few key characteristics — their color, which can {#blank#}1{#/blank#}from pink to bright orange; their tastiness, whether they're grilled or fried; and their predation (掠夺行为) method, in which they {#blank#}2{#/blank#} sea creatures and swallow them whole.

    But their least-known characteristic might be the most valuable of all: They operate as underwater architects, {#blank#}3{#/blank#} the seascape for numerous other forms of underwater life. That surprising discovery is {#blank#}4{#/blank#} scientists and policymakers to readjust their approach to preserving the ocean's natural order — and heightening tensions with those who fish for a living or as a hobby.

    A team of scientists, led by Florida State University's Felicia Coleman, recently found that the red grouper off Florida's east and west coasts have created entire ocean {#blank#}5{#/blank#}by digging large holes in the sea's sandy bottom. In the same way beavers {#blank#}6{#/blank#}dams, red grouper dig and maintain distinct holes whose rocky surfaces provide a place for coral, sponges and other marine life to gather.

    This new understanding is changing the way federal and state authorities manage ocean habitats and is creating a completely new crack with fishermen. “The people who are in control want to {#blank#}7{#/blank#} fishing as much as possible,” said Bob Jones, executive director of the Southeastern Fisheries Association. He added that the recent discoveries about red grouper amount to an “excuse they can use to restrict fishing, {#blank#}8{#/blank#}or recreational.”

    But to many researchers, fishery officials and even some fishermen, the fact that fish act as environmental engineers provides a compelling reason to protect them from exploitation.

    “If you {#blank#}9{#/blank#} that fish, it puts into motion a whole chain of events,” said Don deMaria, who used to fish for red grouper near Key Largo, Fla., but no longer does. “There's a whole lot of other animals that are {#blank#}10{#/blank#}. I'm not saying you can't catch them. But you can't do it to the extent we've been doing for the last 20 years.”

    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.