Question

the great wall of los angeles
judith francis baca believes a mural can tell a story and that a largeness
of it gives its creator an amplified voice. it began in the summer of 1976,
baca led the creation of what is likely the largest mural in the world, the great
wall of los angeles.
this tourist attraction painted on the concrete wall of the tujunga wash, a
flood-control channel in the san fernando valley, is over thirteen feet high and
almost a half mile long. the project was commissioned by los angeles city
officials, those wanted well - known local muralist baca to beautify the channel
area. she took this opportunity to bring the people of multiethnic los angeles
together to produce a narrative mural of their stories.
baca imagined the mural, on the channel wall as a timeline. it would proclaim
the historical experiences of californias people, focusing mainly on the
experiences of women, the poor, and minorities. she wants as many people
as possible, especially young people, to help create the mural.
for guidance, they interviewed hundreds of city residents, historians, and
social activists. the subjects they picked ranged from dust bowl refugees to
civil rights activists, olympic champions to labor organizers, land disputes to
which of the following true statements, if added here, would provide the most effective
transition into the information that follows in the paragraph?
a the social and public art resource center (sparc), which baca and two
other artists founded, is based in venice, california.
b baca and her team began by choosing subjects for the mural scenes.
c bacas work can be seen all over los angeles, as well as at the national
museum of american art at the smithsonian institution.
d baca has taught people of all ages and backgrounds

Explanation:

El párrafo actual habla sobre la creación del mural y cómo Baca imaginó el mural como una línea de tiempo que proclamaría las experiencias históricas de la gente de California. La opción B se centra en cómo Baca y su equipo comenzaron el proyecto (elegir temas para las escenas del mural), lo cual es una transición lógica hacia la siguiente parte del texto que menciona cómo entrevistaron a residentes, historiadores, etc., para elegir los temas (sujetos) del mural. Las otras opciones (A, C, D) no se relacionan directamente con la continuación lógica del texto que sigue, ya que A habla de una organización, C de la ubicación de otras obras de Baca y D de su trabajo como maestra, lo cual no es tan relevante para la transición hacia la selección de temas del mural.

Answer:

B. Baca and her team began by choosing subjects for the mural scenes.