35 Within the context of Latin American art, significant exploration of architectural scale was undertaken by the influential Venezuelan sculptor and painter Jesús Rafael Soto, who used optical and kinetic strategies to create space within a space. In his Penetrable series, which began in the late 1960s, he created participatory installations with thousands of suspended plastic cords that viewers could enter, becoming part of the work (fig. 10). Amaral utilizes the same visual system in her series of sculptures titled Brumas (Mists) (2013, pp. 102–103). Exhibited in versatile groupings and iterations, the Brumas are a twenty-first-century recon- stitution of her early experiments with material, scale, and space. Thin, painted threads fall straight down to form a geometric shape suspended in the center; the fragility of its formation is narrated in the title— Mists . These works foreground the phenomenology of spatial experience, creating more of an environment than an autonomous object. The spectator becomes a participant as the Brumas appear to change based on the viewer’s perspective. The series demonstrates Amaral’s ongoing fascination with symmetry and Figure 9 Christo and Jeanne-Claude, Valley Curtain, Rifle, Colorado, 1970–72 , 1973, photo offset lithographs in colors on wove paper, edition 97/120, 33×23¼ inches (84×59 cm), the Museum of Fine Arts, Houston, gift of Alvin S. Romansky, 91.1626.4.