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 “ ㆇ 아르기닌 비아그라 같이 ㈓ 비아그라판매처.p-e.kr ┌ 얼티밋 스페니쉬 플라이 ☎ 프릴리지약 ㆉ 발기부전치료제 정품 구입처 ▒ 여성최음제 후불제 ▽ 정품시알리스 인터넷판매 ∩ 물뽕처방전 ☂ 레비트라구매 사이트” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ㆇ 아르기닌 비아그라 같이 ㈓ 비아그라판매처.p-e.kr ┌ 얼티밋 스페니쉬 플라이 ☎ 프릴리지약 ㆉ 발기부전치료제 정품 구입처 ▒ 여성최음제 후불제 ▽ 정품시알리스 인터넷판매 ∩ 물뽕처방전 ☂ 레비트라구매 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.