Background: Douglas Richard Flutie (born October 23, 1962) is a former quarterback in the National Football League (NFL), Canadian Football League (CFL), and United States Football League (USFL). Flutie first rose to prominence during his college football career at Boston College, where he received the Heisman Trophy and the Davey O'Brien National Quarterback Award in 1984. His "Hail Flutie" touchdown pass in a game against Miami on November 23, 1984 (dubbed "The Pass") is considered among the greatest moments in college football and American sports history. Flutie was selected as the 285th pick in the 11th round of the 1985 NFL Draft by the Los Angeles Rams, making him the lowest drafted Heisman Award winner among those who were drafted.
Context: Despite his successful college achievements, whether Flutie was too small to play professional football was uncertain. When asked on television "Can a guy who's five-foot-nine, 175 pounds make it in the pros?", he answered "Yes, he can. But it's a matter of ability and not size. I feel I can play; I don't know for sure, and those questions will be answered in the future."  Flutie was seen as extremely attractive to the USFL, which was desperate for a star to reinvigorate the league as it was in financial difficulty. Meanwhile, the Buffalo Bills, who had the first pick of the 1985 NFL Draft, still had the rights to Jim Kelly (who had earlier spurned them to go to the USFL) and also had concerns about Flutie's height. He was selected by the USFL's New Jersey Generals (owned by Donald Trump) in the 1985 territorial draft, which took place in January, months before the 1985 NFL Draft. Flutie went through negotiations with Trump and agreed on a deal that would make him the highest paid pro football player and highest paid rookie in any sport with $7 million over 5 years; Flutie was officially signed on February 4, 1985. Having already signed with the USFL, Flutie was not selected in the NFL Draft until the 11th round, and the 285th overall pick by the Los Angeles Rams.  Flutie entered the USFL with much hype and fanfare. However, many began to wonder if the scouts who said Flutie could not compete on the pro level were right. In February 1985, Flutie made his USFL debut against the Orlando Renegades. His debut was not impressive, as his first two professional passes were intercepted by Renegades line backer Jeff Gabrielsen. The only two touchdowns that New Jersey scored came from turnovers by Orlando quarterback Jerry Golsteyn. By the time Flutie's debut was over, he completed only 7 of 18 passes, for a total of 174 yards, while running for 51 yards. Flutie completed 134 of 281 passes for 2,109 yards and 13 touchdowns with the Generals in 1985 in 15 games. He suffered an injury late in the season that saw him turn over the reins to reserve quarterback Ron Reeves. The Generals went on to sport an 11-7 record and a 2nd-place finish in the USFL's Eastern Conference. The USFL folded in 1986, and Flutie and punter Sean Landeta were the league's last active players in the NFL.
Question: did he win any trophies?
Answer: He suffered an injury late in the season that saw him turn over the reins to reserve quarterback Ron Reeves.

Background: Pieter Cornelis "Piet" Mondriaan, after 1906 Mondrian (; Dutch: ['pit 'mondrija:n], later ['mondrijan]; 7 March 1872 - 1 February 1944), was a Dutch painter and theoretician who is regarded as one of the greatest artists of the 20th century. He is known for being one of the pioneers of 20th century abstract art, as he changed his artistic direction from figurative painting to an increasingly abstract style, until he reached a point where his artistic vocabulary was reduced to simple geometric elements. Mondrian's art was highly utopian and was concerned with a search for universal values and aesthetics. He proclaimed in 1914: Art is higher than reality and has no direct relation to reality.
Context: When the 47-year-old Piet Mondrian left the Netherlands for unfettered Paris for the second and last time in 1919, he set about at once to make his studio a nurturing environment for paintings he had in mind that would increasingly express the principles of neoplasticism about which he had been writing for two years. To hide the studio's structural flaws quickly and inexpensively, he tacked up large rectangular placards, each in a single color or neutral hue. Smaller colored paper squares and rectangles, composed together, accented the walls. Then came an intense period of painting. Again he addressed the walls, repositioning the colored cutouts, adding to their number, altering the dynamics of color and space, producing new tensions and equilibrium. Before long, he had established a creative schedule in which a period of painting took turns with a period of experimentally regrouping the smaller papers on the walls, a process that directly fed the next period of painting. It was a pattern he followed for the rest of his life, through wartime moves from Paris to London's Hampstead in 1938 and 1940, across the Atlantic to Manhattan.  At the age of 71 in the fall of 1943, Mondrian moved into his second and final Manhattan studio at 15 East 59th Street, and set about to recreate the environment he had learned over the years was most congenial to his modest way of life and most stimulating to his art. He painted the high walls the same off-white he used on his easel and on the seats, tables and storage cases he designed and fashioned meticulously from discarded orange and apple-crates. He glossed the top of a white metal stool in the same brilliant primary red he applied to the cardboard sheath he made for the radio-phonograph that spilled forth his beloved jazz from well-traveled records. Visitors to this last studio seldom saw more than one or two new canvases, but found, often to their astonishment, that eight large compositions of colored bits of paper he had tacked and re-tacked to the walls in ever-changing relationships constituted together an environment that, paradoxically and simultaneously, was both kinetic and serene, stimulating and restful. It was the best space, Mondrian said, that he had inhabited. He was there for only a few months, as he died in February 1944.  After his death, Mondrian's friend and sponsor in Manhattan, artist Harry Holtzman, and another painter friend, Fritz Glarner, carefully documented the studio on film and in still photographs before opening it to the public for a six-week exhibition. Before dismantling the studio, Holtzman (who was also Mondrian's heir) traced the wall compositions precisely, prepared exact portable facsimiles of the space each had occupied, and affixed to each the original surviving cut-out components. These portable Mondrian compositions have become known as "The Wall Works". Since Mondrian's death, they have been exhibited twice at Manhattan's Museum of Modern Art (1983 and 1995-96), once in SoHo at the Carpenter + Hochman Gallery (1984), once each at the Galerie Tokoro in Tokyo, Japan (1993), the XXII Biennial of Sao Paulo (1994), the University of Michigan (1995), and - the first time shown in Europe - at the Akademie der Kunste (Academy of The Arts), in Berlin (22 February - 22 April 2007).
Question: Which of the painting in the wall works was the most famous  paint ?
Answer:
the first time shown in Europe - at the Akademie der Kunste (Academy of The Arts), in Berlin (22 February - 22 April 2007).