This painting illustrates a keyway in which the artist understands symmetry as a culturally interesting element and technique in his work. The artist comments that “it is complicated to imagine that most pre-Hispanic sculptures were chromatic, painted with colors on the carved stone”, so he decided to take the process further and make a painting based on the Coatlicue–an Aztec Goddess–sculpture. Anima is part of a series of paintings that Orozco made in relation to Leonardo da Vinci’s Vitruvian Man, superimposed over the image of Coatlicue. It is interesting to consider the way Orozco uses the same kind of lighting from above or “zenithal” lighting that Manuel Álvarez Bravo frequently used in photographs of his pre-hispanic works in the National Museum of Anthropology where Coatlicue resides.