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 “ ▒ 화이자 비아그라 구입 □ vtz823.top ♂ 정품 비아그라 가격 ┠ 비아 마트 ∩ 인터넷 비아그라 구매방법 ㈄ 온라인 씨알리스 판매 ⇔ 씨알리스 처방 ㅪ 씨알리스 정품 판매 사이트  ♥ 발기부전치료제 지속시간” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ▒ 화이자 비아그라 구입 □ vtz823.top ♂ 정품 비아그라 가격 ┠ 비아 마트 ∩ 인터넷 비아그라 구매방법 ㈄ 온라인 씨알리스 판매 ⇔ 씨알리스 처방 ㅪ 씨알리스 정품 판매 사이트 ♥ 발기부전치료제 지속시간”

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.