Gertrud Goldschmidt fled Nazi Germany in 1939 and resettled permanently in Venezuela, where she became known for abstractions of striking repetition and angularity, beginning with what she called herself: Gego. “Both the name and the construction are no-nonsense versions of nonsense,” writes Richard Shiff in an October 2001 review of the late artist’s kinetic works in three and two dimensions. “Hers is formally tight art hovering on the edge of structural disintegration.” The Guggenheim—like Gego’s famous wire sculptures, an experiment in light, line, and movement—is currently hosting a