19 association game matching name of country to a description of the type of crafts produced there would more than likely draw a complete blank if Colombia were mentioned.” 15 Written in 1967, the article speaks to the mass underrepresentation of Latin American artists within the realm of fiber arts. Over the next decade, Amaral would increasingly become a leader in the movement, representing her country and exhibiting across the world and at most of the biennials in Lausanne. 16 In 1970 Amaral’s solo exhibit Woven Walls , shown at the Museum of Contemporary Crafts (now the Museum of Arts and Design) in New York, included works from her series of the same name (fig. 6). Amaral describes these works as “physical structures formed by strips, woven, bound, or wrapped elements in tactile materials such as wool, horsehair, nylon, linen, cotton, and plastic organized in such a way that is very specific and personal.” 17 Installed to float freely in space, Amaral’s walls are also highly textured, voluminous works. In his review of the show for Craft Horizons , Richard Howard wrote, “These are not wall hangings, they are not coverings: they are truly woven walls, great flat cylinders slung from Figure 6 Installation view of Woven Walls by Olga de Amaral held at the Museum of Contemporary Crafts in New York City, New York, September 30, 1970–January 3, 1971.