This article by sculptor and teacher Pedro Briceño (born 1931) on the environmental work Reticulárea (1969) by Gego (Gertrud Goldschmidt, 1912–1994), a Venezuelan artist of German origin, was published in the magazine Imagen in 1969; at that time, Caracas art critics and artists were fascinated by Gego’s most recent production. In this succinct and well written text, the author provides a sculptor’s viewpoint. Briceño places emphasis on how Gego uses technical mastery and architectural knowledge to convey Reticulárea’s specific spatial “meaning”; he also analyzes the overall structure of the work, that is, exactly how it is constructed from the first triangle to the entire work, with its “agile effect of visual texture.” This article, like other writings from the time, discusses the importance of empty space and line in Reticulárea, both of which are integral to the almost musical and serial conception of the work, a topic that will later be widely discussed by specialized critics. In this text, emotion is set aside to instead discuss topics like the Japanese and North American influences on Gego’s development that will similarly be the topic of later studies. Despite its brevity, the article addresses issues central to understanding Gego and her work. This article (original in Spanish, translation to English by Paulette Pagani in 2010) was among the texts 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.