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 “ ▥ 시알리스정 ⇔ ┏━‡▒‰━N▷ ｃｉａ１５８.ＣｏＭ 』(^.^)◀⊙∑▒▒★ ㉡ 비그로스 ┩ 조루방지제 후불제 ∩ 여성최음제 온라인 구매 ㅉ 정품 씨알리스 구입처 사이트 ⊆ 레비트라판매 사이트 ㅲ 레비트라 특징 ┎ 정품 비아그라 구입처 사이트” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ▥ 시알리스정 ⇔ ┏━‡▒‰━N▷ ｃｉａ１５８.ＣｏＭ 』(^.^)◀⊙∑▒▒★ ㉡ 비그로스 ┩ 조루방지제 후불제 ∩ 여성최음제 온라인 구매 ㅉ 정품 씨알리스 구입처 사이트 ⊆ 레비트라판매 사이트 ㅲ 레비트라 특징 ┎ 정품 비아그라 구입처 사이트”

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.