Museo de Bellas Artes

“Gego” impresses itself on the memory: two short syllables and a single, repeating consonant (pronounce it halfway between Geh-go and Gay-go). With “Gego,” Gertrudls Goldschmidt (1912-94) converted her German name into sounds appropriate to her adopted Venezuela. Both witty conceit and tough professional strategy, this was only one of her many acts of engineering. Her four-letter fabrication connotes a structural efficiency befitting her identity as an architect trained in Stuttgart, she practiced in Caracas after emigrating in 1939.

Gego claimed she never regarded herself as an “artist,” yet she had turned to “art” by 1953, encouraged by her companion, painter Gerd Leufert. After a brief period working in an expressionistic idiom, she devoted herself to line, drawing in either two dimensions or three: with graphite and ink on paper; with wire and metal rods in space. Her sculptural

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