30 Figure 5 Hojarasca blanca y seca (Dry White Leaves) , 1973, horsehair and wool, 90½×63 inches (230×160 cm). performances). 10 Though the majority of Amaral’s textile works from this time period are exquisite compositions of color, pattern, and skill, she frequently left bristles and exposed strands of hair to create an allover texture. The presence of so much hair has an unsettling effect on the psyche, similar to that produced by Meret Oppenheim’s notorious fur teacup or Richard Artschwager’s horsehair silhouettes. Amaral defies the delineation between the natural world and mankind’s artifice through her use of hair—a reminder that humans are animals too. Amaral’s veneration of nature is referenced in many of her series titles, which include names such as luna (moon), sol (sun), and montaña (mountain). In several seminal works produced during the 1970s, such as Hojarasca blanca y seca (Dry White Leaves) (1973, fig. 5), Amaral created outdoor installations in which her wool and horsehair textiles act as camouflage amid rock formations in the Colombian landscape. Together, these sculptural gestures act less as an intervention and more like a meditative reintroduction of organic