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 “ ㎣ 비아그라 온라인 구입처 ╆ 비아그라구입처.p-e.kr ㎛ 조루방지제 정품 판매처 ㎮ 정품 씨알리스사용법 ㅀ 신기환가격 ┒ 정품 성기능개선제 구매처 ㅄ 발기부전치료제 구매방법 ├ 미국정품시알리스 약국가격 ∩ 실데나필 가격” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ㎣ 비아그라 온라인 구입처 ╆ 비아그라구입처.p-e.kr ㎛ 조루방지제 정품 판매처 ㎮ 정품 씨알리스사용법 ㅀ 신기환가격 ┒ 정품 성기능개선제 구매처 ㅄ 발기부전치료제 구매방법 ├ 미국정품시알리스 약국가격 ∩ 실데나필 가격”

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.