Gego had installed Reticulárea in the exhibition, Latin American New Painting and Sculpture. Juan Downey, Agustín Fernández, Gego, Gabriel Morera, held at the Center for Inter-American Relations Art Gallery, New York, from November 1969 to January 1970. According to the vast correspondence in the Fundación Gego archives, including this letter, the exhibition as a whole did not receive a great deal of attention from the New York press, but Gego’s Reticulárea did incite admiration and interest on the part of collectors, academics, curators, and directors of American museums. In relation to two frustrated attempts to show Reticulárea at the Everson Museum of Art, Syracuse, Gego exchanged letters with museum administrators: first with James Harithas, its director in 1972, and then with Sandra T. Blumberg, its executive director in 1974. Gego had accepted the first invitation, but she had to cancel the project due to an accident affecting her right arm. The second invitation, in 1974, came from Sandra Trop Blumberg, and Stanton Loomis Catlin, who had by that time left his post as director of the Center for Inter-American Relations Art Galley in New York to direct the Lowe Art Gallery at Syracuse University and act as curator of the university gallery. A retrospective reading of Gego’s letter makes it clear that she envisioned Reticulárea as a site-specific work and understood from the start how hard it was to handle, and to ensure the safety of large environmental works in a museum setting. Two phrases stand out in this letter: “All pieces of Reticularea 1969–70 are finally installed in the new wing of the Museo de Bellas Artes, Caracas, and I decided to have them never travelling again” [sic]; and “Your galleries at the Everson Museum of Art provoke to make a huge and environmental work—which again after two or three installations will be condemned to death, a fact I cant [sic] afford.” Herein lies the importance of this letter, which foretold in some sense, the situation surrounding the subsequent installations and closures of the permanent display of Reticulárea 1969.This letter (original in English, Spanish translation by Sabina Islaelaitz in 2010) was 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.