The review by Ras (Eduardo Robles Piquer), published in the Revista Nacional de Cultura [National Cultural Review], Caracas, July/August/September 1969, comments on the most important cultural events of the month. It starts out with two exhibitions: Gego’s Reticulárea, at the Museo de Bellas Artes in Caracas, and an exhibition of environments by Carlos Cruz-Díez at the Galería Conkright, Caracas. Ras informs us that these artists have developed three-dimensional structures in total environments, so that the viewer can relate to both artists’ approaches by entering into them “materially and physically.” In this way, the viewer has an experience created by the artist through the saturation of the elements. Ras defines the Reticulárea as “an apparent metal web, a kind of amplified spider’s web, constructed of wire triangles of different textures and sizes.” The works of Cruz-Díez are Physichromies representing a chromatic synthesis; Transchromies, in which color is transformed by interference; as well as Chromosuration Cubicles, that use color as environments. Ras also notes that there are works by Jesús Rafael Soto being shown in the Galería Estudio Actual in Caracas at the same time. The last part of the review covers a recital led by Enrique Batiz, a young Mexican pianist, at the Caracas Ateneo, and a performance by the Cuarteto de Cuerdas Galzio [Galzio String Quartet], a new group from the state of Táchira.

Eduardo Robles Piquer, architect, caricaturist, and art critic from Spain, known by the pseudonym “Ras” (1910–1993), arrived in Caracas in 1957, following his exile in Mexico since the fall of the Second Spanish Republic (1931–39). For over thirty years, Ras was a contributor to the daily newspaper, El Nacional, where his caricatures illustrated tales of personalities in the series, Así lo vi yo [That’s How I Saw it]. His column covered the arts in Venezuela, especially in Caracas, during a time when there was a great deal of activity in the galleries and museums. Of interest now are the review of the opening of the Reticulárea, and the discussion of the first environmental works by Cruz-Díez. The Ras column points out the meaning of works and events that would come to have great significance in the history of Venezuelan visual arts over the years. For Gego and Cruz-Díez, this would also include the Latin American and international art scenes. In addition to providing an idea of the quality of the exhibitions presented in Caracas during those years, the writer describes the characteristics of and differences among the three artists mentioned.