The critic and arts administrator from Venezuela, Gabriela Rangel (b. 1963), is currently director of the visual arts program at the Americas Society (New York), an institution formerly known as the Center for Inter-American Relations (CIAR). In November 1969, the work Reticulárea,by the Venezuelan artist originally from Germany, Gego (Gertrud Goldsmith, 1912–1994), was included in the exhibition, Latin American New Painting and Sculpture: Juan Downey, Agustín Fernández, Gego, and Gabriel Morera. At the time, the gallery for the Center for Inter-American Relations was under the direction of Stanton Loomis Catlin. The Reticulárea had been mounted for the first time by Gego at the Museo de Bellas Artes in Caracas earlier that year. For the New York show, Gego conceived a different installation—under a tent—that provided a sensation of infinity. Rangel wrote this essay, “Reticulárea: Module and version 1,” in 2006, during the celebration of forty years of visual arts activities at the Americas Society. The central thesis proposed by Rangel was already there in the title of the essay: to consider the different installations of Reticulárea to be different “versions” with respect to the composition and installation of the various modules (individual reticuláreas) that comprise one environmental work. This focus in Rangel’s [essay] is particularly interesting, since it opens a question for current critics about the nature and definition of a work as complex as Reticulárea. There are several factors that would enter into play, most importantly the differences among (1) the installations conceived of and rendered by Gego’s own hand, (2) the one installed after her death by a team at GAN (Galería de Arte Nacional), Caracas, in 1997, and (3) any that might be rendered in the future. As of this writing (2011), the Gego room at GAN is closed, and the work needs to be taken down and restored. Other factors involved are the letters and other records of the successive refusals of Gego to take Reticulárea to museums abroad, as well as her decision (after she returned from New York in the early 1970s) that the work would never travel again. At the same time, all this may lead to [further] thinking about the concept of site specific works, as related to Reticulárea, and as analyzed by some critics. A fragment of this essay, translated into Spanish by Sabina Israelaitz, is included among the texts selected for 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, María Elena Huizi and Ester Crespin (organizers)—to be published in 2013 by The Museum of Fine Arts, Houston, and the Fundación Gego, Caracas.