This text was written by the Venezuelan curator and critic, Luis Enrique Pérez Oramas (b. 1960) on Gego (Gertrud Goldschmidt, 1912–1994), the Venezuelan visual artist originally from Germany. It was included in a set of lectures given in connection with the exhibition, Questioning the Line: Gego, A Selection, 1955–90, held in 2002 at The Museum of Fine Arts, Houston. Pérez Oramas was one of the most important and diligent critics of the artist’s work. There are many concepts about Gego’s work explained in this text that would serve as the basis of critical perspectives developed by other art scholars and by Pérez Oramas himself in the future. In some cases, the concept would be the main subject of an article; in other cases, it would be included in other essays. Ideas that would appear in later articles include the “rhizome” as applied to the Reticulárea, the distinction between a Reticulárea and “a reticular practice,” the artwork as “accident,” the breakdown of the modern art trend, etc. Thus, this text can be considered the essay that launched the art history of this artist.Fragments of this document are included in the texts selected for 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, María Elena Huizi and Ester Crespin (organizers)—to be published in 2013 by The Museum of Fine Arts, Houston, and the Fundación Gego, Caracas.