The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
Roberto Guevara’s review of Gego’s Reticulárea (1969) was written a year after the work was created and originally installed. Guevara calls it the most complete installation in Venezuelan visual art up to that point (1970) because the open structure prompts the viewer to sit inside, in a never-ending space.
This brief article by the Venezuelan critic Roberto Guevara (1932–1998) about Reticulárea (1969), the work created by the German-born Venezuelan visual artist, Gego (Gertrud Goldschmidt, 1912–1994), is written to celebrate the first anniversary of its creation and original installation. Guevara was closely involved with the work, having witnessed the creation of this installation at the Museo de Bellas Artes in Caracas. In fact it was Guevara who came up with the name Reticulárea. This review identifies Guevara as one of the first critics to understand the importance of the work, whether as an undeniable reference point within the context of Venezuelan visual art, or as fertile ground for research into the artist’s work. It was a prescient creation, given the work’s subsequent development and impact.
An excerpt from this essay is among the documents chosen 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 by The Museum of Fine Arts, Houston, and the Fundación Gego, Caracas.