This self-portrait shows the same Frida Kahlo seen in numerous photographs: intense, with broad, expressive eyebrows and a fondness for traditional Mexican garb. However, it omits the overt symbolism and sometimes-harrowing depictions of her medical history featured in many other self-portraits. Instead, the artist displays herself standing on a stagelike wooden floor between curtains dramatically tied back with heavy cords. Kahlo's hair is braided and adorned with flowers; she wears a long embroidered dress, a rebozo (Mexican shawl), and gold jewelry, calling attention to her carefully manicured hands, which hold a small bouquet and a sheet of paper. The fact that her feet are hidden makes Kahlo appear to float, and the overall composition recalls retablos, the small Mexican religious images painted on tin that Kahlo avidly collected. The paper, with its inscription, signature, and date, is a surprisingly old-fashioned touch. In it, Kahlo dedicates the self-portrait to Leon Trotsky, "with all [her] love."1 Kahlo presented this painting to the Russian revolutionary leader as a gift, presumably a memento of the brief love affair they had shortly after his arrival in Mexico. 1 The great Russian revolutionary had been expelled from the U.S.S.R. by Stalin in 1929 and sentenced to death, in absentia, by a Soviet court in 1937. After nine years of exile, in January 1937 Trotsky and his wife found asylum in Mexico, thanks to Rivera's help. They lived in Kahlo's house for two years, before Trotsky was assassinated by a Stalinist agent.