In 1977, the first major exhibition of work by Gego (Gertrud Goldschmidt, 1912–1994) was held at the Museo de Arte Contemporáneo of Caracas. In addition to the museum publications (the book Gego featuring an essay by Venezuelan poet Hanni Ossott and the exhibition catalogue with text by Argentine critic Marta Traba), and the usual short reviews in the Venezuelan press, a number of essays by Venezuelan critics were published. These included texts by Roberto Montero Castro, and this one, “Para comprender a Gego,” by Venezuelan philosopher and critic Gloria Carnevali. Of all the literature on Gego, this text, which due to its methodology and way of imparting information and developing analysis, is particularly useful due to the structure and language it provides for the representation and comprehension of the complexities of an artist such as Gego. The article is geared to a new audience, one not necessarily versed in the visual arts. On the one hand, it addresses Gego with methodological rigor, placing her work in the context of Western artistic and scientific culture, and providing information that even specialists may find of interest. At the same time, it is a didactic text addressing the general public. Carnevali takes the reader through the changes in conceptions of space and sculpture from antiquity to the present before discussing the topic of Gego and her career, without dwelling on biographical anecdotes. As a result, her characterizations of Gego’s work are well grounded and reasoned conclusions.