Belonging to the series of engravings My Vernicle (a reference to Veronica, a biblical character who accompanied Christ to the cross), this piece represents the last artistic stage of Belkis Ayón, which ended tragically with her suicide in 1999. In these works, we find recurring elements of an iconography that, in dialogue with the Catholic religion, delves into the Afro-Cuban secret society Abakuá––exclusively male––in which the artist immerses herself and relives the martyrdom of Princess Sikán, the center of the myth of a community that segregates and condemns her to sacrifice. With the goddess converted into a alter ego or double of the artist, sufferings such as those experienced by Sikán in the legend are suggested in the titles of the works. The treatment of the Abakuá theme and the reinterpretation of her rites, however, move toward an autobiographical discourse associated with Ayón’s individual experiences during the last years of her life. Stories of heartbreak, betrayal, loss, deep fear, and agony come from the repertoire of Latin American popular songs. The appropriation of the lyrics of vallenatos or boleros becomes a resource to describe and title these circular engravings that reveal a universe of internal conflicts and deep existential anguish. These stormy readings find a parallel in the crisis experienced on the island in its transit through the so-called Special Period in Times of Peace after the dismantling of the USSR in 1991. A graduate of the Instituto Superior de Arte in 1991 and with an outstanding career as an art teacher, Ayón is considered one of the greatest exponents of engraving in the 1990s. The artist transcended the two-dimensionality of traditional engraving through experimentation with collagraphy, a technique with which she achieved complex assemblages and expands the genre toward installation formats.