Gertrude Goldschmidt, known as Gego (1912–1994), fled Nazism in 1939 and settled in Caracas. Trained as an architect, she devoted herself to an innovative mode of sculpture that engaged with her contemporaries working across diverse fields. She was a prominent artist from the late 1950s through the 1980s, but her work has increasingly resonated in a global context. Her radical recasting of the modern sculptural project, as it was received via a productive engagement with European abstraction and the pedagogy of architecture, crafts, and design, sheds light on the dissolution of boundaries that traditional mediums underwent during this period. In the first monograph on her work, Mónica Amor explores her intermedial practice as a model through which to study cultural complexity at the edge of modernity. She analyzes the conceptual and material underpinnings of Gego’s practice while addressing how discourses and institutions at the edge of modernity informed her work.

Mónica Amor, author, is professor at the Maryland Institute College of Art where she teaches modern and contemporary art. Her published research focuses on postwar abstraction and post-object aesthetics as well as the transatlantic dialogues between Europe and South America. She is the author of Theories of the Nonobject: Argentina, Brazil, Venezuela, 1944­–1969 (University of California Press, 2016).

Katherine Boller, senior editor, Art and Architecture, will be the primary collaborator at Yale University Press. She will coordinate the book’s editing, production, and design to bring the project to completion. Upon publication, she will work closely with Yale’s marketing, publicity, and sales teams to promote and disseminate the book. Boller has worked in acquisitions for Yale’s award-winning art and architecture list since 2010.

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