The journalist Raquel Chonchol wrote under the pseudonym, “Ray Ponte,” for The Daily Journal, a Venezuelan English language newspaper. She reviewed this exhibition on the occasion of a visit by some high-profile members of The International Council of The Museum of Modern Art, New York. The exhibition, which was held at the Galería Conkright in Caracas, presented the work of five Venezuelan artists: Alejandro Otero, Gego, Domingo Álvarez, Gerd Leufert, and Carlos Cruz-Díez. The journalist comments on the various artistic languages presented, and on the work of each artist work. Regarding Otero, she focuses on his models of sculptures designed for urban settings installed in several cities in Venezuela (and one destined for Boston, in the United States) as well as his sculpture for domestic spaces. The explanation of Gerd Leufert’s empty frames given by the painter/designer himself is that they are extensions of the paintings he created in 1967. Chonchol defines the works of Carlos Cruz-Díez as chromatic games, exemplified by his series, Fisicromías and Cromointerferencias. The journalist then comments on two of Domingo Álvarez’s Cubos [Cubes] from the series, Gramática Espacial [Spatial Grammar], which consist of environments created completely from mirrors. She concludes the article with comments about Gego’s Reticuláreas, stating that Gego’s artwork seems to have arisen effortlessly, with great organic vitality.

As a staff editor for the Venezuelan newspaper, The Daily Journal, written for English-speaking readers, Raquel Chonchol signed her articles with the pseudonym, “Ray Ponte.”In April 1973, there was a meeting of the directors of The International Council of The Museum of Modern Art, New York, in Caracas. In their honor, the Museo de Bellas Artes of Caracas presented seventy-nine works (including paintings, sculpture, drawings, and prints) by four contemporary masters: Alberto Giacometti, Jean Dubuffet, Wilhem de Kooning, and Francis Bacon. Taking advantage of the trip by important figures on the New York art scene, some Caracas galleries offered exhibitions of works by the most distinguished local painters. Estudio Actual, directed by Clara Sujo, showed the works of Jesús Rafael Soto, Elsa Gramcko, Jacobo Borges, and Gabriel Morera; at the same time, the Galería Conkright organized the exhibition that was the subject of this review. Lastly, at the Sala Mendoza, Lourdes Blanco held the exhibition Once Tipos [Eleven Guys], where she presented the work of the youngest, and least-known artists. The idea behind this last exhibition was to compare the work of the invited artists, and the concept was used again for exhibitions with the same title in the following years.