20 poles, dividing space and allowing—obliging—us to walk up to them, away from them, around them , for they alter as they offer their other cheek.” 18 The interlaced elements in pieces such as Muro tejido cuadriculado (Woven Gridded Wall) (1970, p. 51) use frame braiding on a large scale. In this technique, loops encircle parallel rods at each end, and the woven strips are worked in a mirror-image progression of braiding, finishing in a center line. 19 If the center line or the rods on either end are removed, the entire structure returns to a parallel design rather than the braided or plaited structure. A few years later, Amaral’s Muros tejidos moved onto the floor with works such as Muro tejido 82 (Woven Wall 82) (1972, pp. 52–53), before progressing to freestanding columns viewed in the round with Columna en pasteles (Column in Pastels) (1972, p. 55) and Farallón granate (Garnet Rock Ridge) (1973, pp. 56–57). By moving her works from the wall, to the floor, to hanging in space, Amaral explores the full sculptural potential of her media. “When I was doing the woven walls, I was creating and dividing spaces with my tapestries,” Amaral explains. “It Figure 7 Members of Casa Amaral, the studio-atelier of Olga de Amaral and Jim Amaral, sit on top of El gran muro (The Great Wall) (1976), displayed on the sidewalk outside of Casa Amaral in Bogotá.