We [Frida and Diego] moved from the house on Reforma [street] to Coyoacán, and that had an enormous influence on me. How we painted the house and the Mexican furniture, all that influenced my painting a lot. While still on Reforma, I painted a self-portrait [Self-portrait 'Time Flies', 1929] that is owned by Morillo Safa. Once in Coyoacán I began to make paintings with backgrounds and Mexican things in them. I painted the portraits of Hale's sister.. ..and the one of Diego, which I did not finish [this painting is lost and was never documented before]. Those three paintings, who knows where they are. Mirillo Safa has the third self-portrait [her Self-portrait of 1930], showing me bald and sitting in a cane chair. (1950)

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "We [Frida and Diego] moved from the house on Reforma [street] to Coyoacán, and that had an enormous influence on me. How we painted the house and the Mexican furniture, all that influenced my painting a lot. While still on Reforma, I painted a self-portrait [Self-portrait 'Time Flies', 1929] that is owned by Morillo Safa. Once in Coyoacán I began to make paintings with backgrounds and Mexican things in them. I painted the portraits of Hale's sister.. ..and the one of Diego, which I did not finish [this painting is lost and was never documented before]. Those three paintings, who knows where they are. Mirillo Safa has the third self-portrait [her Self-portrait of 1930], showing me bald and sitting in a cane chair. (1950)" in the context of "In: Chapter 'My Painting', p. 75" to mean that wisdom is timeless.