Documents of Latin American and Latino Art

In this essay, Glenn D. Lowry discusses his reaction when in Venezuela in 2000, he discovered Gego’s work, having only ever seen a few of her sculptures and prints. He claims that he would have liked to meet her, and lists the questions he would [...]

Juan Ledezma compares the aesthetic strategies that Gego used to create shape in space.  Leaning on theories suggested by Jürgen Habermas, who classifies modern forms of reason, Ledezma analyzes the “formative logic” of Gego’s constructions [...]

Eliseo Sierra analyzes the sources and characteristics of Gego’s graphic discourse (drawings, prints, watercolors, and weavings). Sierra finds that the artist’s work resists classification and is substantially different from the masterworks of [...]

With this text, Mariela Avellaneda de Luna officially presents Gego at the twenty-third São Paulo Biennial. Avellaneda points out the importance of the line in Gego’s large structures, such as the versions of Reticulárea, emphasizing the way the [...]

This analysis by Catherine de Zegher focuses on Gego’s drawing in space. After an introduction in which she describes earlier works by important artists that engage the notion of drawing in space, as well as those by Gego’s contemporaries, de [...]

In this essay, Eugenio Espinoza analyzes Dibujos sin papel [Drawings Without Paper], a series of works by Gego, a Venezuelan artist of German origin. Espinoza focuses on the works from that series created in 1985 as he explores the way Gego goes [...]

Critic Mariana Figarella analyzes the series of Dibujos sin papel [Drawings Without Paper] that Gego, a Venezuelan artist of German origin, produced between 1976 and 1984. Figarella discusses the “ambiguity” of these works and the subsequent [...]