Gabriela Rangel (b. 1963), arts administrator, critic, and curator from Venezuela, wrote this essay (2003) for a small exhibition of [work by] Gego (Gertrud Goldschmidt, 1912–1994) at the Sicardi Gallery in Houston. She addresses a range of themes that may stimulate new viewers to seek out the artwork of Gego, the Venezuelan artist originally from Germany. First, she describes the basic formal characteristics of her work, referring to the similarities and differences some writers have identified between Gego and Frida Kahlo, who were both descendents of European immigrants in Latin America. Comparisons are also made based on the coincidence of their being of the same generation, as well as the sudden success both artists had, which overlapped to some extent. Of course, these coincidences do not take into account the marked differences in their aesthetics, their lives, and their work, etc. Rangel also discusses the matter of the place Gego occupied in the development of Venezuelan abstract art in the second half of the twentieth century. For Kinetic art, Gego served as a counterpoint to the artists who proposed some notion of progress in their works. Thus the author identifies an important time and tells how the sudden internationalization of Gego’s work came about, as well as noting the institutions (public and private), and art world participants in play at that time. She describes the [economic] situation in Venezuela, the exhibition at the Museo de Bellas Artes in Caracas curated by Iris Peruga, the subsequent exhibition at the Museum of Fine Arts, Houston, and the relationship of the art market to Gego’s artwork. Rangel references texts written by Venezuelans and foreigners (starting in 2000) that reveal a reassessment of Gego’s work through international exhibitions and the collecting world (following the publication of Iris Peruga’s essay) [that went beyond that public success]. There was also a revival of critical thinking about the artist that was in depth and specialized. Rangel is currently director of the visual arts program at the Americas Society of New York, an institution formerly known as the Center for Inter-American Relations (CIAR). This was the center that held an exhibition of Gego’s Reticulárea in November 1969.