18 with structure, incorporating untraditional materials and working more intuitively on the loom. In 1962 the Biennale Internationale de la Tapisserie (more commonly known as the Lausanne Biennial) was initiated in Lausanne, Switzerland, to document and promote the art of tapestry, a medium still largely considered a mural art or directly related to architecture and pictorial in representation. While the first and second biennials largely featured tapestries that emphasized pictorial designs, the third biennial, held in 1967, shifted to include more works of free-form fiber art that demonstrated sculptural, textural, and dimensional charac- teristics (fig. 5). 13 Among the eighty-four artists from twenty-five countries showcased in the 1967 biennial, Amaral was the only representative from Latin America. 14 She remains one of only nineteen Latin American artists to exhibit in the history of the biennials from 1962 to 1993. The first feature on Amaral in Craft Horizons magazine, the leading US craft publica- tion, began with author Nell Znamierowski observing how little is known about the craft environment in Colombia outside of the Pre-Columbian weavings in the Andes: “A word Figure 5 The shift toward more free-form fiber art continued throughout the 1970s, as evidenced in this installation view of Variables Objekt by Brunhild el Attar (1973) at the 6th Lausanne Biennial held in Lausanne, Switzerland, in 1973.