The first major retrospective of works by the German-born Venezuelan artist, Gego (Gertrud Goldschmidt, 1912–1994) was held at the Museo de Arte Contemporáneo [Contemporary Art Museum] in Caracas in 1977. The art critic and journalist, Roberto Montero Castro (1945–2005), who worked closely with the museum, wrote several articles, among them “Gego o la provocación para un mundo nuevo: Conversación en la red” [Gego or the Prompting of a New World: Conversation in the Net] (El Universal, Caracas, September 18, 1977) that focused on the relationship between Gego’s life and her work (see doc. no. 1159594). The following week he published this article, “La línea en tres dimensiones” [The Line in Three Dimensions] which addressed the artist’s use of lines and looked at how she worked with them at different stages of her career and in a variety of materials. Montero Castro’s first article is important because it describes Gego’s arrival from Germany and her desire to create (for herself) a new world in Venezuela, as expressed in her work. “La línea en tres dimensiones,” on the other hand analyzes her use of the line at a key moment in her career (1977), when Gego had already produced most of her major works in series such as Chorros [Streams], Reticuláreas (individual versions), Troncos [Trunks], and Esferas [Spheres], created after her great Reticulárea (1969). These works all show her system and her “reticular practice” (Pérez Oramas). Montero Castro’s review of her works embedded in architecture is important for its suggestion that they should not be seen as a separate branch of her work. He is also one of the first critics to have mentioned “transparency” as a fundamental aspect of Gego’s work, even in projects such as Cinco Pantallas [Five Screens] (1967) that was created for “La escultura y sus posibilidades” [Sculpture and Its Possibilities] at the Instituto Nacional de Cultura y Bellas Artes [National Institute of Culture and Fine Arts] (INCIBA), an event that included works by several Venezuelan sculptors. Cinco pantallas is now at the IVIC (Instituto Venezolano de Investigaciones Científicas) [Venezuelan Institute for Scientific Research]. Montero highlights the quality of transparency he was referring to when he states that the parallels in this work consist of anodized tubes that create a transparent surface.