As art historian Carolina Arévalo argues, some of Jeroglí昀椀co, Grand Hieroglyph, Carta blanca, Blue Letter, and Hicks’s works from the early 1960s appear to propose Quipu. Hicks, like Albers, explored the calligraphic quality of notation systems to convey messages, with uniform weaves threads, but Hicks’s work “deconstructs the grid to create her 33 interrupted by slits or variations of relief, density, and scale, text.” Her distinct approach to the constructive methods as exempli昀椀ed by Wall Hanging (1961; 昀椀g. 39). Many of these of Andean textiles was ultimately expressed in her “open works received 昀椀tting titles, in English or Spanish, such as compositions.” These did not employ weaving techniques Fig. 39. Sheila Hicks. Wall Hanging, 1961. Wool, 27 ⼀挀 × 27 in. (69.8 × 68.6 cm). The Museum of Modern Art, New York (348.1961) 37