Chorros, Troncos, Esferas and Other Reticular Typologies (1969-88)

On view in this section is a selection of Gego’s hanging sculptures from 1969-88 that epitomizes the notion of “a measured infinity,” a poetic oxymoron that was eloquently penned by Venezuelan poet Alfredo Silva Estrada in his poem, “Variaciones sobre reticuláreas” (Variations on Reticuláreas, 1979), in homage to Gego. Mirroring the artist’s experiments with structure, space, light, shadow, line, and grid, the poem interprets infinite space as a finite, bounded element, making a symbolic attempt at measuring infinity through Gego’s forms themselves. Yet such an act is a paradox, for unbounded space and time are inherently immeasurable.

Visitors are free to explore examples from three relevant series in this area: Chorros (Streams, 1970–74), Troncos (Trunks, 1974–81), and Esferas (Spheres, 1976–77). Suspended vertically in a large central space, these minimal works emphasize the themes of fragility, gravity, and transparency and further offer a means to understand the artist’s evolving formal developments. Additionally, other works from Gego’s hanging reticular typologies, or “reticuláreas,” as she referred to the nets or net-like forms based on the square or the triangle, are also included in this section, and are composed of reticular metal meshes that evoke constellations of lines woven across space.