141 Bosque I y Bosque II (Forest I and Forest II) (1998) 14, 17, 88–89 Brumas (Mists) installations (2013) 12, 35–36, 102–3 Buren, Daniel 34 Carbonell, Galaor, Olga de Amaral, desarrollo del lenguaje 136 Carretón negro (Black Carretón) (1973) 59 Casa Amaral, Bogotá, El gran muro (The Great Wall) (1976) displayed on the sidewalk outside of 20 , 34 Celant, Germano 29–30 Christo and Jeanne-Claude, Valley Curtain, Rifle, Colorado, 1970–72 (1973) 34, 35 , 37 Colegio Mayor de Cundinamarca, Bogotá 13 Colombia Olga de Amaral’s outdoor installations in Colombian landscape 12, 30–31 craft environment of 18–19 history of gold in culture of 21, 24 material scarcity in 26 unstable politics of 13, 26 Colombia nelle Corderie dell’Arsenale, 42nd Venice Biennale (1986) 136 Columna en pasteles (Column in Pastels) (1972) 20, 55 Constantine, Mildred 131, 136 craft Olga de Amaral’s contributions to 24, 25, 26, 29, 31, 36–37, 131 Ruth Asawa’s contributions to 26 philosophies of 36–37 Craft Horizons magazine, feature on Olga de Amaral 18–19 Cranbrook Academy of Art alumni of 17 Olga de Amaral’s studies at 12, 13, 17, 25–26, 31, 129 fiber department of 36–37 Marianne Strengell in weaving studio 13 student exhibition (1955) 129, 129 Cuatro tiempos exhibition (Museo de Arte Moderno, Bogotá, 1993) 136 de Stijl movement 31 “Dior Lady Art” project (2018) 138 Dos columnas moviles (Two Mobile Columns) (1985) 66 , 67 earthworks 25, 29, 31 El Anatsui 37 El Dorado, folklore of 21 Elliott, Lillian 17 Entorno quieto 5 (Quiet Still Environment 5) (1993) 81 Entrelazado (Interlaced) series 17 Entrelazado 87 (Interlaced 87) (1987) 73 Entrelazado en blanco y negro (Interlaced in White and Black) (1965) 23n14, 131 Olga de Amaral in front of 132 Entrelazado en blanco y turquesa (Interlaced in White and Turquoise) (1965) 17, 41 , 130 Entrelazado en naranja y gris (Interlaced in Orange and Gray) (1969) 17, 45 Entrelazado en verde y naranja (Interlaced in Green and Orange) (1966) 17, 42 , 43 , 131 Estelas (Stelae) (fiber) (various dates) 21–22, 126–27 Estelas (Stelae) (stone) (2007), at the Amaral country house outside of Bogotá 21, 22, 22 , 134–35 Farallón granate (Garnet Rock Ridge) (1973) 20, 31, 56 , 57 Fiber: Sculpture 1960—Present exhibition (Institute of Contemporary Art, Boston, 2014) 136 fiber-art movement Olga de Amaral’s role in 12, 18, 19–23, 24, 31 artists experimenting with structure in 17–18 and free-form fiber art 18, 18 Latin American artists in 18–19 Fiberworks exhibition (Cleveland Museum of Art, 1972) 136 Four Seasons Hotel, Hong Kong, Olga de Amaral’s tapestry installation at 136 gender, weaving as domain of women 26, 36–37 Geometric Abstraction 36 Glyph IV (2002) 90–91 , 92–93 , 137 Glyph V (Tríangulo) (Glyph V [Triangle]) (2003) 96 , 97 Glyph VI (2003) 94 , 95 Glyph IX (2002) 90–91 , 92–93 , 137 El gran muro (The Great Wall) (1976) as commission for Westin Peachtree Plaza hotel in Atlanta, Georgia 21, 34, 136 displayed on the sidewalk outside of Casa Amaral in Bogotá 20 , 34 Guggenheim Fellowship 136 hard-edge painting 31 Haystack Mountain School of Crafts, Deer Isle, Maine 131 Heizer, Michael 31 Hicks, Sheila 37, 137 Hojarasca blanca y seca (Dry White Leaves) (1973) 30–31, 30 Hojarasca limón (Dry Yellow Leaves) (1973) 34, 34 Holt, Nancy 31 Howard, Richard 19–20 Ideas in Polietileno (Biblioteca Luis Ángel Arango in Bogotá, 1969), installation view 27 installation art 25, 34 Jack Lenor Larsen, Inc. Showroom, New York City 130 kintsugi (Japanese technique) 21, 24 Kounellis, Jannis, Untitled (1968) 29–30, 29 , 37