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 “ ∞ 비아그라 가짜구별 ┽ ◈━★☆γ★☆━◈-{ ｃｉａ５6５。ＣＯＭ ≪·´″```°³о※ € 아드레닌 성분 ┮ 성기능개선제 판매 ㅀ 시알리스 100g → 카마그라파는곳 ㎣ 정품아드레닌 ∩ 비아그라부작용 ╊ 정품 발기부전치료제구매처사이트” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ∞ 비아그라 가짜구별 ┽ ◈━★☆γ★☆━◈-{ ｃｉａ５6５。ＣＯＭ ≪·´″```°³о※ € 아드레닌 성분 ┮ 성기능개선제 판매 ㅀ 시알리스 100g → 카마그라파는곳 ㎣ 정품아드레닌 ∩ 비아그라부작용 ╊ 정품 발기부전치료제구매처사이트”

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.