María Luz Cárdenas (born 1955) interviewed Gego (Gertrud Goldschmidt, 1912–1994), a Venezuelan artist of German origin, on the occasion of the presentation of the book of poems Variaciones sobre reticuláreas en homenaje a Gego by Venezuelan poet Alfredo Silva Estrada (1933–2009); the book, which features illustrations by Gego, was inspired by her Reticuláreas. The book presentation took place at the Museo de Arte Contemporáneo of Caracas in 1979. Silva’s text was published a second time in Los quintetos del círculo / Variaciones sobre reticuláreas en homenaje a Gego [The Circle Quintets / Variations on Reticuláreas in Tribute to Gego] (Caracas: Monte Ávila Editores, 1982). Two fundamental aspects of Gego’s work surface in this interview: her interest in interdisciplinary work and the relationship that her work establishes between genres (specifically sculpture and drawing). Regarding the former, Gego engaged in interesting cross-disciplinary collaborative projects throughout her career, especially involving literature, and specifically poetry. In 1966, she produced a book of lithographs entitled Líneas [Lines] in which the images are placed amid verses by American poet Amy Baker; in 1964, Gego and poet Silva Estrada produced the book Lo nunca proyectado [The Never Projected], which combines poetry and intaglio prints. On this occasion, the joint project was, for Gego, a circular process whereby her work inspired Silva Estrada’s poetry, and which in turn inspired the illustrations that she made for the book. In this process of assimilation, Gego experienced Silva Estrada’s work as a comprehensive vision that on the basis of poetry, delved into her art. What Gego says about artistic genres is extremely important, since many critics have seen her drawings as a simple crutch or complement to her three-dimensional work. Here, Gego affirms the independence and autonomy of her drawings while recognizing their deep connection to her sculptures insofar as they both define the same conceptual concerns.