Two friends, Navid and Eunji, are standing in a large art gallery looking at a series of paintings. The gallery has paintings on all walls, and Navid and Eunji are currently standing side by side, gazing at a large, vibrant painting of a forest directly in front of them. Navid is on the left and Eunji is on the right. The gallery is rectangular, and the painting they are looking at is on one of the longer walls. Immediately to their left, hanging on the short wall, there is a painting of a cityscape. Behind them, on the opposite long wall, there is an abstract piece full of swirling colors which can be partially seen if they turn their heads slightly without moving from their spot. To their right, on the other short wall, there is a portrait of a woman. There are other visitors in the gallery walking around, but currently, no one is blocking their view of any of the paintings.

Eunji receives a phone call and steps away to take it, wandering over towards the painting of the cityscape on their left but remains facing the forest painting so she can continue admiring it while she talks. Navid remains fascinated by the forest painting and doesn't move.

After Eunji finishes her call, she turns around to face the direction of the abstract painting to contemplate it before she returns to Navid. At this point, Yara walks into the gallery through the entrance located on the wall adjacent to the forest painting. She takes a look around the gallery.

The question is, what paintings can Eunji and Navid see after Eunji moves to take her phone call, and what painting can Yara see upon her entry? What can they see without moving from their spots but still having the ability to turn their heads and look around, and what are they unable to see?
When Eunji moves away from Navid to answer her phone call and stands in front of the cityscape painting, her view changes. While she is still standing side by side with the forest painting and facing it, she can continue to admire the forest scene. Due to her new position, however, when she turns her head to the left without moving her body, Eunji can see the cityscape painting directly. Looking to the right is more challenging as her view is blocked by the position of the forest painting; she does not have a direct line of sight to the portrait of the woman, which is on the other short wall. If Eunji looks behind her, she has a clear view of the abstract piece across the room.

Meanwhile, Navid has not moved and continues to face the forest painting. Because he is stationary, his views do not change--he can see the forest painting in front of him, glance to his right to see the portrait of the woman, and look over his shoulder to see the abstract painting behind him. The cityscape, which is on the wall to his left and behind him, is now out of sight.

As for Yara, she enters the gallery through the entrance on the wall adjacent to the forest painting. From her entry point, she can look straight ahead and see the portrait of the woman. The abstract painting is on the wall to her immediate left and thus within her line of sight if she turns her head without moving from where she is standing. The forest painting, being parallel to the wall she is next to, cannot be directly seen by her unless she moves further into the room or sideways. As she is close to Navid, she may catch a glimpse of the cityscape painting by looking to her right and past Navid, although depending on the angle and her position relative to Navid, her view of it might be partially blocked.

Eunji can see the forest and cityscape paintings directly and the abstract painting by looking behind her, but she cannot see the woman's portrait. Navid can see the forest and the woman's portrait, with a glance allowing him to see the abstract painting, but not the cityscape. Yara, having just entered, can see the woman's portrait and the abstract painting by turning her head to the left, but cannot see the forest or cityscape paintings without adjusting her position in the gallery.