Taken in 1926, this intimate gelatin silver print belongs to the body of self-portraiture through which Claude Cahun dismantled fixed notions of gender, identity, and selfhood decades before such ideas entered mainstream critical discourse. In Entre nous, Cahun presents a doubled or mirrored presence that collapses the boundary between self and other, inviting the viewer into a space of ambiguity that feels simultaneously private and confrontational. The small scale of the print, just under twelve centimeters on each side, intensifies this intimacy, demanding close attention and rewarding it with layers of psychological tension that larger works could not sustain. Cahun worked primarily in Jersey and Paris alongside her lifelong partner Marcel Moore, and the two collaborated on images that challenged the photographic conventions of their era by treating the body as a site of perpetual reinvention rather than stable documentation. Entre nous exemplifies this approach, using the camera not to record a fixed subject but to stage a question about who, exactly, is being seen. The signed print carries both the authority of a deliberate artistic statement and the rarity associated with Cahun's small surviving output, much of which was destroyed by Nazi occupiers during World War II. For collectors, works by Cahun occupy an increasingly significant position in the history of photography and conceptual art alike. Held in the permanent collection of the San Francisco Museum of Modern Art, her photographs have achieved institutional recognition commensurate with their art historical importance, yet examples that surface on the market remain exceptional finds. Acquiring a signed gelatin silver print from 1926 represents an opportunity to hold a primary document of one of the twentieth century's most singular and prescient artistic minds.