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 비아그라부작용 ㅴ 비아그라구입처.n-e.kr ® 레비트라 사는곳 ▥ 인터넷 성기능개선제판매 ㅷ 여성 흥분제 구매 ∩ 팔팔정 후기 클리앙 ♭ 스패니쉬 캡슐 효과 ‰ 성기능개선제 정품 구매처  ╅ 프릴리지 구입” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ♣ 정품 비아그라부작용 ㅴ 비아그라구입처.n-e.kr ® 레비트라 사는곳 ▥ 인터넷 성기능개선제판매 ㅷ 여성 흥분제 구매 ∩ 팔팔정 후기 클리앙 ♭ 스패니쉬 캡슐 효과 ‰ 성기능개선제 정품 구매처 ╅ 프릴리지 구입”

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.