In November 2000, the second major exhibition of the Venezuelan visual artist originally from Germany, Gego (Gertrud Goldschmidt, 1912–1994) opened at the Museo de Bellas Artes de Caracas. The title of the exhibition was Gego, 1955–1990, and the Venezuelan art historian, Iris Peruga (b. 1941), was the curator. The catalog featured the curator’s text entitled, “Gego. El prodigioso juego de crear” [Gego: The Prodigious Game of Creating], an exhaustive study on Gego’s work that was published for the first time. Subsequently, this essay was published, along with [essays by] other writers, in the book, Gego: Obra completa, 1955–1990 [Gego: Complete Work, 1955–1990] (Caracas: Fundación Cisneros, 2003). Both Peruga’s meticulous sorting of work into periods, and her analysis of each group of works (in the three phases outlined) have made this essay a resource for researchers who have written about the artist since this exhibition. In 2006, Peruga published this essay under the title “Gego, el juego de crear”—eliminating the adjective “prodigious” from the title of the earlier versions—in Desafiando Estructuras, which was held simultaneously at the MACBA in Barcelona and in the Museu Serralves, in Porto (both in 2006). Although this version of the text was condensed, revised, and corrected by the writer, it is still basically the same study, with no change in its overall approach.This remains the most complete existing inventory of the artist’s work, setting the starting date of the first phase (parallel lines) in 1957, the analysis begins with works executed by Gego between 1953 and 1955. That was a period when she lived in a place called Tarmas, a small mountain town in Venezuela’s central littoral. The works are landscapes in watercolor or tempera and pencil; figurative ink portraits; and parallel line drawings (1955). The article even covered the weavings, which were the final works Gego created before her death in 1994. Peruga goes into further depth in her 2006 text and in the chapter on Paperless Drawings, defined as “small mural pieces made of wire.” These works incorporate elements that are used in daily life; she goes on to classify them, providing a subtitle for each group: “First Paperless Drawings”; Paperless Drawings “as boxes or frames,” “as grilles or grids,” “as dividers”; and “Circular and Rhizomatic Paperless Drawings.” In each group, the curator points out the titles and dates of the most representative works. 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.