Completed in 1943 during one of the most emotionally turbulent periods of Kahlo's life, this extraordinary self-portrait presents the artist adorned in the traditional dress of the Tehuana women of Tehuantepec, a costuming choice that carried deep personal and political meaning throughout her practice. At the center of her forehead, rendered with meticulous devotion, sits a miniature portrait of Diego Rivera, her husband and lifelong obsession, an image that transforms the artist's own face into a kind of altar or reliquary. The red web-like tendrils of her headdress curl and spread across the composition like roots or veins, binding the two figures together in a union that is simultaneously tender and suffocating. The psychological complexity of the work is inseparable from its formal precision. Kahlo's gaze meets the viewer with characteristic directness, neither pleading nor resigned, but coolly declarative, as if acknowledging the power Rivera holds over her inner life without surrendering to it. The Tehuana costume, associated with the matriarchal culture of the Isthmus of Oaxaca, introduces a layer of indigenous identity and feminist reclamation that complicates any simple reading of devotion. Kahlo wears her love as both ornament and burden, and the painting holds that contradiction without resolution. Oil on masonite, measuring 76 by 61 centimeters and signed by the artist, this work is presently held at the Art Gallery of New South Wales. Works of this stature, combining autobiographical intensity with Kahlo's fully realized symbolic language, appear with extreme rarity on the market, and this piece represents a singular opportunity for a collector of the highest ambition.