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 “ ㎌ 시알리스 팔팔정 ㉪ ━━∽▶ ｃｉＡ３５１。ｎＥＴ ★★★┓┓↖★ ㉷ 여성흥분제구매 사이트 ∩ 정품 발기부전치료제구입 ㎙ 카마그라효능 ╆ 미국정품시알리스 인터넷판매 ㉦ 해포쿠직구 ╃ 프로코밀 약국가격 ♥ 여성흥분제약국” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ㎌ 시알리스 팔팔정 ㉪ ━━∽▶ ｃｉＡ３５１。ｎＥＴ ★★★┓┓↖★ ㉷ 여성흥분제구매 사이트 ∩ 정품 발기부전치료제구입 ㎙ 카마그라효능 ╆ 미국정품시알리스 인터넷판매 ㉦ 해포쿠직구 ╃ 프로코밀 약국가격 ♥ 여성흥분제약국”

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.