As Iris Peruga has pointed out, Gego would not deploy the notion of “fabric as warp”until the end of herlife, when she made her small works with strips of paper called Tejeduras [Woven Pieces of Paper]. Nonetheless, that notion was latently present in her work in a manner without precedent in Venezuela starting in 1969 with Reticulárea. Indeed, this is so much the case that in 1973, Mildred Constantine (1913–2008) and Jack Lenor Larsen (born 1927) included an image of Reticulárea by Gego (Gertrud Goldschmidt, 1912–1994), a Venezuelan artist of German origin, in their book Beyond Craft: The Art of Fabric, along with a brief text about the piece then installed in the Museo de Bellas Artes of Caracas. That important book consists of an exhaustive study of the textile art movement that emerged in the sixties, focusing on artists from Europe and the United States, as well as some Latin Americans artists. The book includes, among many others, Magdalena Abakanowicz, Sheila Hicks, Aurelia Muñoz, Lenore Tawney, Olga Amaral, and Debra Rapoport. The authors present Gego as diametrically the opposite in attitude and aesthetic of Rapoport, a New York-based designer and visual artist who makes use of fibers and textiles, as well as everyday objects and waste materials, to make art objects; works and objects for the home; and clothing and accessories. Rapoport wears her extravagant and baroque works on her body, rendering it art.