33 Figure 7 Fred Sandback, Untitled (Sculptural Study, Five-part Construction) , 1987/2009, black acrylic yarn, dimensions vary with each installation. as seen in her show Woven Walls , which originated at the Museum of Contemporary Crafts (now the Museum of Arts and Design) in New York and then traveled to the Biblioteca Luis Ángel Arango in Bogotá between 1970–71 (fig. 6). With these installations, she approached the exhibition space theatrically, anticipating sight lines and choreographing the viewer’s movement. If one were to outline and trace these exhibition layouts from the 1960s and 1970s, they would at times resemble the Minimalist sculptural installations of Fred Sandback, whose three-dimensional configurations composed simply of lines of yarn are often referred to as drawing-in-space (fig. 7). Similarly, Amaral installed works to be sus- pended from the ceiling so that the bold woven lines would become distinct and precise, like architectural renderings. She strategized to create space through gaps in the construc- tion of the textiles and a dynamic depth of field for the viewer to look both at and through the work. Amaral’s relationship to architecture is overt in her Muros tejidos (Woven Walls) series that she began in the late 1960s and continued through the 1980s. These woven walls were