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 “ ⊙ 정품 비아그라구매처사이트 ┠ vcy552.top ㎑ 카마그라 당일배송 ┿ 시알리스 진품 ♄ 발기부전치료제 정품 가격 ∩ 정품 비아그라 판매 사이트 ⇒ 비아그라 100mg 효과 ㉥ 비아그라 구매방법  ㉹ 카마그라 약국가격” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ⊙ 정품 비아그라구매처사이트 ┠ vcy552.top ㎑ 카마그라 당일배송 ┿ 시알리스 진품 ♄ 발기부전치료제 정품 가격 ∩ 정품 비아그라 판매 사이트 ⇒ 비아그라 100mg 효과 ㉥ 비아그라 구매방법 ㉹ 카마그라 약국가격”

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.