Prior to this essay, English critic and curator Guy Brett (born 1942) had analyzed works by Gego (Gertrud Goldschmidt, 1912–1994), a Venezuelan artist of German origin, in relation to the notion of “force fields” in the following texts: “The Century of Kinesthesia” (Force Fields: Phases of the Kinetic, London: Hayward Gallery, 2000) and “Gego’s Force Fields,” (Questioning the Line: Gego in Context, ICAA, vol. 2, The Museum of Fine Arts, Houston, 2003). In this essay, Brett uses the term to define certain practices fundamental to both Gego’s work and its development (specifically, the practices of design and visual experimentation) and to what makes it “art.” In relation to this, Brett had done in-depth research into the artist’s background and training, discussing specifically how graphic design influenced her work; the multidisciplinary practices in which Gego engaged throughout her life; and her experiences as a teacher, formed the basis for her visual research. This essay was one of the documents selected for publication in the bilingual book Desenredando la red. La Reticulárea de Gego. Una antología de respuestas críticas / Untangling the Web: Gego’s Reticulárea, An Anthology of Critical Response, organized by María Elena Huizi and Ester Crespin, in the process of being published by The Museum of Fine Arts, Houston, and the Fundación Gego, Caracas.