This text by the Colombian/Argentine critic Marta Traba (1923–1983) on the Venezuelan artist originally from Germany, Gego (Gertrud Goldschmidt, 1912–1994), is very similar to a text written by Traba in 1973, published under the title, “Caracas 3000.” In both essays, Traba looks closely at Gego’s work, focusing almost exclusively on the public work, notably, the architectural environments installed [in public sites] in the city of Caracas. During the 1970s, at the time when both articles were written, Caracas was flourishing in the midst of a round of urban renewal brought on by the high petroleum revenues garnered by Venezuela during that period. This resulted in a number of buildings and other public spaces springing up amid aspirations that they be distinguished by their architecture, originality, and luxury, upheld by ostentation, and avant-garde artwork. That is why Traba was so interested in Gego’s public work.In this text, Traba constructs a thesis for the artist’s work, addressing and developing the formal and aesthetic assumptions on which it is based. This article is substantially different from the text written in 1973, in which Traba paid more attention to political and ideological issues. Both articles establish paradigms for criticism of Gego to such an extent that the critic’s arguments are still taken up and/or referenced by scholars who study Gego’s work years later.A fragment of this document is included among 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.