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 “ ☜ 레비트라 정품구별 ▤ ◈◆◈━━▶ ＣｉＡ９５２.ｃｏｍ ◈★~★☆ ∩ 비닉스당일배송 ㅝ 정품프릴리지 정품구별 ㈖ 조루방지제 구매처 ㎓ 조루방지제처방 ◁ 여성비아그라 구입가격 ♄ 요힘빈비용 ㎨ 법카마그라당일배송” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ☜ 레비트라 정품구별 ▤ ◈◆◈━━▶ ＣｉＡ９５２.ｃｏｍ ◈★~★☆ ∩ 비닉스당일배송 ㅝ 정품프릴리지 정품구별 ㈖ 조루방지제 구매처 ㎓ 조루방지제처방 ◁ 여성비아그라 구입가격 ♄ 요힘빈비용 ㎨ 법카마그라당일배송”

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.