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 “ ㄾ 비아그라 팝니다 ❡ 시알리스판매.n-e.kr ㎘ 레비트라 정품 가격 ♬ 조루방지제구매사이트 ㈃ 비아그라 약국 판매가격 ∩ 발기부전치료제 온라인 구입 ‡ 발기부전치료제 정품 구매처사이트 ㎥ 칵스타정품구입 ▧ 정품 씨알리스 판매처” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ㄾ 비아그라 팝니다 ❡ 시알리스판매.n-e.kr ㎘ 레비트라 정품 가격 ♬ 조루방지제구매사이트 ㈃ 비아그라 약국 판매가격 ∩ 발기부전치료제 온라인 구입 ‡ 발기부전치료제 정품 구매처사이트 ㎥ 칵스타정품구입 ▧ 정품 씨알리스 판매처”

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.