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 “ ∩ 비닉스 후기 ㅥ ★￥━■■■▶ ｃｉＡ９５２。ｎｅｔ ♪♪♪♪♪ ▥ 팔팔정구매처 ㎪ 정품 시알리스부작용 ＋ 비닉스구매 ╇ 비아그라 성분 ╄ 센트립효과 ┯ 정품비아그라구입 ㄾ 아드레닌 가격” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ∩ 비닉스 후기 ㅥ ★￥━■■■▶ ｃｉＡ９５２。ｎｅｔ ♪♪♪♪♪ ▥ 팔팔정구매처 ㎪ 정품 시알리스부작용 ＋ 비닉스구매 ╇ 비아그라 성분 ╄ 센트립효과 ┯ 정품비아그라구입 ㄾ 아드레닌 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.