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This text, written on behalf of the Galería de Arte Nacional (GAN) in Caracas, introduces Gego’s environmental work Reticulárea (1969), identified as a constant presence that was also capable of variation. While this was a unique work of art, each time the artist mounted and reinstalled the environmental [piece], it involved a different vision and reconstruction of the piece, which took on a playful quality, like a game. Similarly, the artist’s watercolors about this work provided a new approach, in this case, employing a two-dimensional perspective.



This essay was published by GAN (Galería de Arte Nacional) for the catalog of the exhibition, Acuarelas de Gego [Watercolors by Gego], which was held at this institution July 4–August 8, 1982. Although the text does not contribute any significant insight into Gego’s watercolors (executed in 1980–81), it does analyze and comment on both the formal and historical aspects relevant to the environmental work, Reticulárea (1969). This was the artist’s best-known work, considered by many to be the most important she ever created. The writer notes the various presentations of Reticulárea that have been installed, and the watercolors are seen as yet another reconstruction of the material, though in this instance, in a two-dimensional form. In fact, Gego executed these watercolors as simple studies, as a strictly practical matter, when she proposed to mount Reticulárea once again, this time in a permanent room in GAN, in 1980. The fact is that Gego’s recreation of Reticulárea in her vibrant watercolors validated the significance of the discourse the artist had initiated with this work. At the same time, the watercolors serve as a link between her two-dimensional and three-dimensional work.

Josefina Manrique
Fundación Mercantil, Caracas, Venezuela
Courtesy of Galería de Arte Nacional Venezuela
Fundación Gego, Av. Principal Colinas de Bello Monte, Edif. Centro Comercial Bello Monte, Piso 3, Oficina 3F, Caracas, 58-212-7511342, correo electrónico: