Passage II No one truly needs a domestic garage to park a car; space is available, if not _______26_______, on city streets. So why do garages exist? The reason may have nothing to do with parking. In their recent book, "Garage," Olivia Erlanger, an artist, and Luis Ortega Govela, an architect, coin a term, "garageification," which describes a strange excrescence, initially unrelated to the central functions of the home, acquiring a life of its own and beginning to blend previously separate realms. Garages were, of course, designed to _______27_______ cars. But they soon became much more: storage spaces, offices, man _______28_______. Entire companies were _______29_______ in a garage, and several styles of music were named after it. The authors of "Garage" locate themselves in the tradition of the German critic Walter Benjamin, who speculated for more than a thousand pages on Paris shopping arcades as _______30_______ of the nineteenth century. For Erlanger and Ortega Govela, who speculate with more brevity, the garage is a latter-day arcade, a symbol of modernity---or maybe postmodernity.
【題組】28.
(A) tunnels
(B)holes
(C) caves
(D)corners