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 “ ㎱ 정품 비아그라 구입처 ∋ vca991.top ㅦ 페페젤효과 ㎛ 신기환구입방법 ↙ 정품아이코스맥스 정품 ┶ 성기능개선제 사용방법 ∩ 비아그라 처방 병원 ㅹ 레비트라정보  ↳ 정품수입산미국시알리스 구입방법” from Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Search “ ㎱ 정품 비아그라 구입처 ∋ vca991.top ㅦ 페페젤효과 ㎛ 신기환구입방법 ↙ 정품아이코스맥스 정품 ┶ 성기능개선제 사용방법 ∩ 비아그라 처방 병원 ㅹ 레비트라정보 ↳ 정품수입산미국시알리스 구입방법”

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.