Gego had installed her Reticulárea in the exhibition Latin American New Painting and Sculpture. Juan Downey, Agustín Fernández, Gego, Gabriel Morera at the Center for Inter- American Relations Art Gallery, New York, held from November 1969 to January 1970. According to the vast correspondence in the archives of the Fundación Gego, including this letter, the exhibition was not well received by the New York press, but Gego’s work Reticulárea did incite admiration and interest on the part of collectors, academics, curators, and directors of American museums. On this occasion, Stanton Loomis Catlin is writing to Gego in his capacity as an art professor at Syracuse University in New York State, and as director of the university’s Lowe Art Gallery. Catlin had been the director of the Inter-American Relations Art Gallery, New York, when Gego exhibited Reticulárea there from 1969 to 1970. In addition to this letter, Gego (Gertrud Goldschmidt, 1912–1994) corresponded with the authorities of the Everson Museum of Art in Syracuse: in 1972 she exchanged letters with James Harithas, the museum director, and in 1974 with Sandra T. Blumberg, its executive director. This correspondence was related to two frustrated attempts to exhibit Reticulárea at that institution. The first time, in 1972, Gego had accepted the invitation but had to cancel due to an accident affecting her right arm. In this letter in which Gego responds to the second invitation, she has a retrospective vision. On the basis of the letters related to these two attempted exhibitions, it is clear that from the beginning, Gego envisioned her Reticulárea as a site-specific work, and that she was well aware of how difficult it was to install and handle. 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, published in 2014 by The Museum of Fine Arts, Houston, and the Fundación Gego, Caracas.