One Sunday, Diego came to the house to see my paintings and critiqued all of them in a very clear manner, and he told me all the possibilities he saw in them. Then I painted two or three things, which are around the house, that to me seem very influenced by him [circa 1928]. They are portraits of thirteen- or fourteen-year-old kids.. .In 1929, I joined the Communist Party, I got married to Diego, and I had my first abortion. In that year I painted a portrait of Cristina Moya.. ..and other drawings that Morillo Safa [her main patron] owns. The unfinished [self-]portrait of my first abortion was my first Surrealist painting ['Frida and the Caesarean', she painted in 1929] but not completely. I have it [at home]. (1950)

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "One Sunday, Diego came to the house to see my paintings and critiqued all of them in a very clear manner, and he told me all the possibilities he saw in them. Then I painted two or three things, which are around the house, that to me seem very influenced by him [circa 1928]. They are portraits of thirteen- or fourteen-year-old kids.. .In 1929, I joined the Communist Party, I got married to Diego, and I had my first abortion. In that year I painted a portrait of Cristina Moya.. ..and other drawings that Morillo Safa [her main patron] owns. The unfinished [self-]portrait of my first abortion was my first Surrealist painting ['Frida and the Caesarean', she painted in 1929] but not completely. I have it [at home]. (1950)" in the context of "In: Chapter 'My Painting', p. 74" to mean that wisdom is timeless.