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 “ ┪ 시알리스구입처 ▩ 비아그라판매처.p-e.kr ㎄ 씨알리스 효과 ┝ 여성최음제구입하는곳 ∩ 온라인 비아그라 구매방법 〓 씨알리스 구매처 사이트 ❡ 카마그라구매 ㉠ 정품 성기능개선제가격 ∀ 정품수입산미국프릴리지 부작용” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ┪ 시알리스구입처 ▩ 비아그라판매처.p-e.kr ㎄ 씨알리스 효과 ┝ 여성최음제구입하는곳 ∩ 온라인 비아그라 구매방법 〓 씨알리스 구매처 사이트 ❡ 카마그라구매 ㉠ 정품 성기능개선제가격 ∀ 정품수입산미국프릴리지 부작용”

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.