It's important to understand this point, for it helps to clear up a major misunderstanding that can cause us to resist the teaching on not-self. We instinctively know that our strategies of self-making are for the sake of happiness, so when we misunderstand the Buddha's not-self teaching — thinking that it's a "no self" teaching, and that he's trying to deny us of our "selves" — we're afraid that he's trying to deprive us of our strategies for finding happiness and protecting the happiness we've found. That's why we resist the teaching. But when we gain a proper understanding of his teaching, we see that his aim is to teach us how to use perceptions of self and not-self as strategies leading to a happiness that's reliable and true. In teaching not-self, he's not trying to deprive us of our strategies for happiness; he's actually trying to show us how to expand and refine them so that we can find a happiness better than any happiness we've ever known [see Talk 5] .
Pieces from Diego's collection would also appear in many of her paintings or serve as models or inspiration for a painting. Her 1932 painting "My Birth" in which she paints " how I imagined I was born ", a statue of the Aztec Goddess Tlazolteolt may have been the model. In "My Nurse and I" from 1937, the "Nurse" is wearing a Teotihuacán mask and the "Madonna and Child" pose may have been modeled after a pre-Columbian statue. Pre-Columbian artifacts can be found in other paintings as well: "The Four Inhabitants of Mexico City" (1938), "Girl with Death Mask" (1938), and "Self-Portrait with Small Monkey" (1945).