Comprised of abstracted and translucent, colorful shapes, artist Amalia Pica's 2013 work A ∩ B ∩ C (read as A intersection B intersection C) references 1970s Argentina, during which the country's military junta banned elementary schools from using Venn diagrams and teaching the concept of intersection, believing it to pose a threat. As part of the Pica's piece, performers move and comingle the shapes in a powerful, critical demonstration that embraces the notion of continual collaboration and community.  Search “ ¶ 시알리스 처방전 ㈙ ┏━*♥⑪R♥M⑪♥*━┓ CiA169。neT ★★★┓┓↖★ ♬ 비아그라 구입방법 ☎ 발기부전치료제 온라인 구입 ∩ 레비트라 100mg ♫ 레비트라 후기 ㎎ 비아그라 약국판매 가격 ▥ 칙칙이비용↳ 네노마정 vs 프릴리지” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ¶ 시알리스 처방전 ㈙ ┏━*♥⑪R♥M⑪♥*━┓ CiA169。neT ★★★┓┓↖★ ♬ 비아그라 구입방법 ☎ 발기부전치료제 온라인 구입 ∩ 레비트라 100mg ♫ 레비트라 후기 ㎎ 비아그라 약국판매 가격 ▥ 칙칙이비용↳ 네노마정 vs 프릴리지”

Comprised of abstracted and translucent, colorful shapes, artist Amalia Pica's 2013 work A ∩ B ∩ C (read as A intersection B intersection C) references 1970s Argentina, during which the country's military junta banned elementary schools from using Venn diagrams and teaching the concept of intersection, believing it to pose a threat. As part of the Pica's piece, performers move and comingle the shapes in a powerful, critical demonstration that embraces the notion of continual collaboration and community.