This unsigned review of Gego’s Reticulárea, published in the newspaper La Religión on the day of the presentation of the work (Sunday, June 8, 1969), is important because of the statements by Gego (Gertrud Goldschmidt, 1912–1994) about Reticulárea (1969) that it contains. The artist affirms that this is the most important work she has made to date, and that it is “the logical outgrowth of what [I have done] thus far.” Furthermore, it is significant that the very first word of this review refers to Reticulárea as an “environment.”The rest of the review is concise, mentioning highlights of Gego’s career; it also contains a reproduction of the brief prologue to the exhibition catalogue. Though it is unsigned, the prologue formulates concepts that would later be cited by critics, mentioning what would come to be considered the most important attributes of Reticulárea: “[…] though this work seems to reflect a functional conception, it actually combines calculation and spontaneity to create a truly serene form of magic.”In relation to the catalogue and show, it is significant that the director of the Museo de Bellas Artes of Caracas at that time was Miguel Arroyo, a distinguished professor, critic, and museologist with great knowledge of Gego’s work; he was also a friend of the artist, and he worked with her on the conception of the installation of the environmental work. The article also evidences the effervescent cultural scene in Caracas in the late sixties, especially in terms of the growing number of private galleries that worked closely with public institutions.
