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"A few years ago, in the late 1920's, Alain Leroy Locke, a professor at Howard University . . . came to Harlem to gather material for the now famous Harlem Number of the Survey Graphic [magazine] and was hailed as the discoverer of artistic Harlem."The Whites who read that issue of the Survey Graphic became aware that in Harlem, the largest Negro city in the world, there existed a group interested in the fine arts, creative literature, and classical music. So, well-meaning, vapid [dull] Whites from downtown New York came by bus, subway, or in limousines, to see for themselves these Negroes who wrote poetry and fiction and painted pictures."Of course, said these pilgrims, it couldn't approach the creative results of Whites, but as a novelty, well, it didn't need standards. The very fact that these Blacks had the temerity to produce so-called Art, and not its quality, made the whole fantastic movement so alluring. . . ."News that Harlem had become a paradise spread rapidly and from villages and towns all over America . . . there began a [Black] migration of quaint [eccentric] characters, each with a message, who descended upon Harlem, sought out the cafes, lifted teacups with a jutting little finger, and dreamed of sponsors."Levi C. Hubert, African American journalist, essay reflecting on life in Harlem in the 1920s, written in 1938Which of the following contributed to Hubert's criticism in the excerpt of White Americans who visited Harlem in the 1920s?A.) The inability of African American artists to influence popular cultureB.) Ongoing public debates over how to improve race relationsC.) Opposition to recruiting African American soldiers for the United States ArmyD.) Racial restrictions on the freedom of speech imposed during the First World War

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