From the first time the work Reticulárea was exhibited in 1969, at the Museo de Bellas Artes of Caracas, critics began using the metaphor of the spider web [with regard] to studies on the work of Gego (Gertrud Goldschmidt, 1912–1994), a Venezuelan visual artist of German origin. Indeed, this comparison is made in one of the first writings on the piece, a text that Venezuelan curator and critic Lourdes Blanco wrote in 1969. From then on, analyses of Gego’s work would be rich in allegory, symbolism, and even poetics related to the web and the spider. This text by Yve-Alain Bois (born 1952) offers a scholarly and detailed exploration of the poetic connection between the spider web and Reticulárea. It does so on the basis of profound reflection on the foundations of his thesis, as well as a revision of the most important critical studies—and fundamental concepts—related to this piece and an understanding thereof. The notions of “tensegrity,” “materialism,” “visual astonishment,” and others take on new value in Bois’s text when combined with his poetic vision of Reticulárea. Fragments of this essay were among the documents selected for publication in 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, organized by María Elena Huizi and Ester Crespin, currently in the process of being published by The Museum of Fine Arts, Houston, and the Fundación Gego, Caracas.