Chuquibamba/Inca artist, detail of tunic, 1460–1540 (昀椀g. 22) In particular, Albers envisioned her textile constructions In her 1965 book On Weaving, Albers declared that as models for the utopian potential of art to penetrate all “along with cave paintings, threads were among the earliest aspects of everyday life. Albers approached textiles with a transmitters of meaning.”2 Yet in the history of art, textiles functionalist aim, and Andean weavings taught her useful have often been relegated to the world of ornament. They techniques that she translated into prototypes for indus - have been characterized as lightweight, both physically trial production. Hicks, Tawney, and De Amaral repurposed and conceptually, and, not incidentally, as women’s work—a Albers’s artistic theories to further explore the structural less important medium, stepsister to painting, sculpture, possibilities of weaving, experimenting with grid-based and architecture. The works in this Bulletin challenge these constructions, sculptural and spatial dimensions, notions of misconceptions and encourage us to reconsider the place transparency, and tactile qualities. Together these women of textiles in the history of world art. challenged the long-standing and often gendered divide between art and craft. 5