Gego (Gertrud Goldschmidt, 1912–1994) had installed the work Reticulárea at the exhibition Latin American New Painting and Sculpture: Juan Downey, Agustín Fernández, Gego, Gabriel Morera, held at the Center for Inter-American Relations Art Gallery, New York, from November 1969 to January 1970. According to the vast correspondence in the archives of the Fundación Gego that includes this letter, the exhibition as a whole did not receive a great deal of attention from the New York press, but Gego’s Reticulárea did incite admiration and interest on the part of collectors, academics, curators, and directors of American museums. In relation to two frustrated attempts to exhibit Reticulárea at the Everson Museum of Art, Syracuse, Gego exchanged letters with museum administrators: first with James Harithas, its director in 1972, and then with Sandra T. Blumberg, its executive director in 1974. Gego had accepted the first invitation but as this letter shows, she had to cancel this engagement due to an accident affecting her right arm. Of interest in this letter to James Harithas, dated 1972, in which Gego informs him of her inability to install Reticulárea at the Everson Museum of Art in Syracuse, is Gego’s warmth and her succinct way of expressing herself. Indeed, that tone comes through not only in her kind treatment of Mr. Harithas, but also in the way she speaks of her own work and situation. At this time, Gego writes, the effort of installing Reticulárea would be like attempting to “revive sleeping beauty.” In her essay “Another Geometry: Gego’s Reticulárea, 1969–1982,” [October (Cambridge), no. 113 (2005): 101–25], Mónica Amor writes that “it is possible that Gego’s interest in architecture might have played a part, if only a small one, in her initial decision to accept the invitation to exhibit in Syracuse. The Everson Museum [of Art, Syracuse] had recently moved to its newly constructed building (completed in 1968), designed by internationally renowned architect I.M. Pei.”This letter (original in English, Spanish translation by Sabina Islaelaitz in 2010) was among 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, currently in the process of being published by The Museum of Fine Arts, Houston, and the Fundación Gego, Caracas.