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 여성작업제 ∃ ②⑨³°```″´＊♥ ｃｉＡ3５１.ｎｅＴ 》♡♡♡← ㅨ 이드레닌비용 ㈏ 레비트라체험 ⇒ 정품 씨알리스구매처사이트 ┦ 정품수입산미국아이코스맥스 당일배송 ㆅ 온라인 여성최음제구매처 ⇔ 정품 비아그라 판매처 ∩ 요힘빈효과” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ㆇ 여성작업제 ∃ ②⑨³°```″´＊♥ ｃｉＡ3５１.ｎｅＴ 》♡♡♡← ㅨ 이드레닌비용 ㈏ 레비트라체험 ⇒ 정품 씨알리스구매처사이트 ┦ 정품수입산미국아이코스맥스 당일배송 ㆅ 온라인 여성최음제구매처 ⇔ 정품 비아그라 판매처 ∩ 요힘빈효과”

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.