The article discusses the work of Venezuelan artist Gego, emphasizing the critical and aesthetic dimensions of her art, particularly in the context of Venezuelan modernism and public art. It reflects on the decay and transformation of Gego's public installations over time, interpreting them not as metaphors but as embodiments of a 'negative utopia.' The text also compares Gego's work with that of other Venezuelan artists like Jesús Soto, Carlos Cruz-Diez, and Alejandro Otero, highlighting her unique approach to modernism. The article was originally presented at a talk at Museo Jumex in Mexico City and relates to the exhibition 'Gego: Measuring Infinity' organized by several museums.