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 “ ㉴ 여성흥분제 ㆇ cia565.com ㎁ 정품 성기능개선제부작용 ┞ 비아그라 패치 ㅹ 레비트라 정품 구입 사이트 ㅦ 시알리스5mg 가격 ☋ 비아그라 판매처사이트 ┳ 성기능개선제가격  ∩ 신기환구매방법” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ㉴ 여성흥분제 ㆇ cia565.com ㎁ 정품 성기능개선제부작용 ┞ 비아그라 패치 ㅹ 레비트라 정품 구입 사이트 ㅦ 시알리스5mg 가격 ☋ 비아그라 판매처사이트 ┳ 성기능개선제가격 ∩ 신기환구매방법”

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.