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In Mexico where she remained for five years (1959- [[strikethrough]] 19 [[/strikethrough]]63), she began to weave in her own home on an apiculturist's ranch in Taxco el viejo. She worked on a small weaving frame (she carries one with her wherever she goes -- a recent work was made flying across the ocean).[[strikethrough]] p. ). [[/strikethrough]] She also continued to work with the back [[strikethrough]] - [[/strikethrough]] strap loom, as well as to do works [[strikethrough]] which [[/strikethrough]] that show the influence of the macramé of Mitla as well as the wrappings and the tassels applied to Peruvian tapestry.  These small works are in the nature of "studies" yet complete objects of are in themselves.  For her daughter she made clothes, knitting, knotting wonderful threads in combinations. She also made textile objects - shirts, sleeves, bouquets (in the Kunstgewerk Museum, Stuttgart), and [[strikethrough]] Lajas [[/strikethrough]] skirts in the collection of the Art Institute of Chicago, where she had a one-man exhibition in 1963. In that same year she showed at Knoll Associates in Chicago and Knoll International in Stuttgart. Her work began to grow in scale, from [[strikethrough]] the [[strikethrough]] miniatures [[strikethrough]] 3/4" x 9", [[/strikethrough]]to a series [[strikethrough]] 195_ (p. ) to [[/strikethrough]] starting with The White Letter, [[strikethrough]] 1962 [[/strikethrough]] 38 by 47 1/2 inches (p.  ) where, using warp and weft in the same fiber and color, she "wrote" her "messages" with subtle variation of weave. The wrapped warps and braided warp endings, first seen in her Mexican period, were later to reappear in a tremendous exploratory essay (p.  ).

By 1964, [[strikethrough]] Sheila [[/strikethrough]] Hicks had left Mexico and moved to Paris, where a totally different kind of exposure brought her to another, more expensive phase of her life and work. She had been in 1961 in France accumulating the experience of the great European tradition found in the museums and cathedrals.  These iconographical references of painting and sculpture as well as the archaic and primitive wealth entered into her bank of ideas.  She immersed herself in textiles in all of their metamorphos [[strikethrough]] i [[/strikethrough]] es and diverse uses.  

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The page contains a lot of editing. The translation captures the changes suggested by the editing. Not sure if that's the correct procedure. Removed paragraph symbols as they are not required per instructions.