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 필름 ✓ ▶▶▶▣▣▦▣▦▣▶ ｃｉａ７５６。ＣｏＭ ──▶◀━━ ╂ 인터넷 여성최음제 구입 ㅼ 여성흥분제구입처사이트 ∫ 프릴리지 시알리스 ㎝ 조루방지제정품가격 ㎤ 정품 비아그라판매 ㎛ 조루방지제 판매 ㎗ 발기부전치료제사용법” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ∩ 시알리스 필름 ✓ ▶▶▶▣▣▦▣▦▣▶ ｃｉａ７５６。ＣｏＭ ──▶◀━━ ╂ 인터넷 여성최음제 구입 ㅼ 여성흥분제구입처사이트 ∫ 프릴리지 시알리스 ㎝ 조루방지제정품가격 ㎤ 정품 비아그라판매 ㎛ 조루방지제 판매 ㎗ 발기부전치료제사용법”

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.