This essay by Venezuelan curator Rina Carvajal appears in the catalogue to the show, The Experimental Exercise of Freedom: Lygia Clark, Gego, Mathias Goeritz, Helio Oiticica, Mira Schendel (The Museum of Contemporary Art, MOCA, Los Angeles, 1999). Carvajal, who curated the show, wrote an essay on each of the participating artists, including Gego (Gertrud Goldschmidt, 1912–1994), a Venezuelan artist of German origin. As her introduction to the book indicates, Carvajal set out to understand how, from 1950 to 1980, the Latin American artists in the exhibition absorbed, questioned, and critically transformed the hypotheses of European Constructivist avant-gardes. Carvajal finds analogies and common parameters in the pursuits and accomplishments of these five creators, and in the contexts surrounding their artistic practices. The curator bases her analysis on the phrase “the experimental exercise of freedom” that Brazilian critic Mário Pedrosa (1900–1981) used in reference to artists who attempted to go beyond the limits of the object as conclusive form.In the essay on Gego, Carvajal addresses Gego’s production as a whole; in her view, it is an ascending path toward greater expressive freedom and a release from the traditions of the European avant-gardes. Carvajal affirms the value of Gego’s contribution to Latin American and international art, establishing a dialogue between Gego’s work and that of the other artists in the show.