Included in her Sabiduras, a folder of her informal writings discovered upon her death, there is a letter addressed to her colleagues explaining the criteria that would be beneficial to the students of Venezuela.

"[9] Arriving in Venezuela during an economic boom, Gego was surrounded by artists enjoying a great deal of success.

thought by encouraging the modern art movement, which incorporated ideas of the industry, science, and architecture, the country would be seen as progressive.

She was aware of the modern movement when she came to Caracas, but she did not want to simply co-opt the ideas of Kinetic Art, Constructivism or Geometric Abstraction.

In the end, she saw that these new projects labeled desarrollista (developmentalist movement) were pleasing the elite and members of government, but she wanted an art that would relate to the local community of Venezuela.

One of her earliest works, Esfera (Sphere) (1959), consists of welded brass and painted steel of different widths that are placed at different angles to one another in order to create overlapping lines and fields.

[12] The strength or purpose of a line was enhanced by Gego's use of different materials, like steel, wire, lead, nylon and various metals.

Gego not only used these materials to create lines in her massive sculptures but also in her series entitled Dibujos Sin Papel (Drawings without Paper).

These small works were created from scraps of metal that were bent and weaved together in order to evoke movement, experimentation, and spontaneity.

[11] While in Los Angeles in the late 1960s, Gego composed a series of lithographs that were mostly untitled except for a ten-page book entitled, Lines in 1966.

[citation needed] Gego's idea of a series of artworks that would be titled "Drawings Without Paper" reflected on her view of space.

In fact, the way Gego's sculptures exist in space changes every time it was installed because she had the power to recreate the image as she wanted.

[13] Gego explained her interest in using non-traditional formats in her printmaking in a speech at Tamarind in 1966: "I think that series of sheets with a coherent meaning must be gathered in a way that they can be easily enjoyed so I make books.

Pieces of aluminum and steel were joined together to create an interweaving of nets and webs that fills the entire room when exhibited.

[11] In 1940 Gego met Venezuelan urban planner Ernst Gunz at the architectural firm where she worked with other architects to design the Los Caobos housing estate for Luis Roche.

[3] The romantic partnership coincides with the development of her artistic career: She begins exhibiting her watercolors, collages, and monotypes in 1954 and is experimenting with creating three-dimensional objects by 1956.