29 Amaral also uses natural resources that register far back on the human timeline; for instance, horsehair and wool are prevalent throughout her work. Horsehair has been used for cen- turies within textiles because of its durability, a quality exploited for many other practical and functional uses: surgical sutures, paintbrushes, upholstery, musical instruments, fishing line, and more. In the 1960s and 1970s, Amaral experimented with these organic materials in works such as Maraña fibrosa (Fiber Entanglement) (1972, fig. 3) and Vestidura de calicanto (Faded Vestment) (1977, pp. 62–63). Although Amaral’s use of the materials draws on craft tradition, these works were created with a sculptural intention rather than a functional pur- pose. The horsehair and wool are often knotted, tangled, or left exposed, almost serving as reparations to human interference and returning, full circle, to life in the wild. There is an element of confrontation in their rawness, which places Amaral in the zeitgeist of hyper- experimentation with “art material” during this era. In 1969 the art critic Germano Celant noted that the artists of the 1960s associated within movements such as Arte Povera, earthworks, and Minimalism invited “animals, vegetables, minerals [to] take part in the world of art.” 9 The Arte Povera artist Jannis Kounellis presented raw wool in many of his sculptural works that incorporated everyday materials (fig. 4). Celant attributed Kounellis’s use of “the slang of natural, organic matter” as an effort to create unmediated communi- cation between the viewer and artwork (coincidently, Kounellis also used live horses in Figure 4 Jannis Kounellis, Untitled , 1968, jute fabric and wool, 106¼ x 137¾ inches (270×350 cm).