This essay by Iris Peruga, a Venezuelan curator originally from Spain, was written for the exhibition, Gego 1955–1990, held between 2000 and 2001 at the Museo de Bellas Artes in Caracas. A summary version of the essay was subsequently published in the exhibition catalog (2003). The original essay was later published in the book, Gego. Obra Completa. 1955–1990 [Gego: The Complete Work, 1955–1990] along with other studies. Peruga’s text offers a broad, panoramic perspective—both chronological and didactic—of most of the artwork created by Gego (Gertrud Goldschmidt, 1912–1994). To date, this is the most complete effort made to catalogue Gego’s artwork. In this regard, Peruga observes the organization proposed by Hanni Ossot (cf Hanni Ossot, 1977), based on the structural systems dreamed up by the artist as she executed her pieces. Peruga analyzes each stage in detail and also breaks the work into subgroups and series within the subgroups. The curator’s exhaustive analysis particularly focuses on Gego’s three-dimensional work, and in fact, the periods described are based on this genre. On the other hand, the pieces rendered on paper (and worked extensively by Gego) are given somewhat short shrift—although a point is made of their importance and autonomy—at the same time the curator emphasizes their relationship to the three-dimensional work.Peruga goes on to review the few critical approaches made to Gego’s work in the past, as well as the artistic milieu in which her work developed. This allows connections to be made between Gego’s pieces and certain movements and artists who shared the cultural scene with her. All this leads to the conclusion that while Gego’s work assimilated the contributions of modern art, she knowingly kept her distance from other contemporary influences. Under these terms, she was able to create a unique and original body of work, incomprehensible to the majority of critics, which can partially be explained by her lack of references [to other artworks].