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 “ ∂ 비아그라후기 ∩ 비아그라구입.n-e.kr ㄼ 레비트라 팔아요 ㅽ 정력강화제 ┎ 비아그라판매처사이트 ㆄ 정품 비아그라구매처 ┯ 성기능개선제 정품 ▽ 시알리스당일배송  ┳ 5mg 가격” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ∂ 비아그라후기 ∩ 비아그라구입.n-e.kr ㄼ 레비트라 팔아요 ㅽ 정력강화제 ┎ 비아그라판매처사이트 ㆄ 정품 비아그라구매처 ┯ 성기능개선제 정품 ▽ 시알리스당일배송 ┳ 5mg 가격”

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.