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This paper underlines the similarity, with regard to the issue of self-representation, between Velázquez’s Las Meninas (1656) and the psychotherapeutic situation. What is noteworthy in Las Meninas is that Velázquez gives us a glimpse of an otherwise hidden dimension of his work, the focus of the painting being what is not meant to be seen. Rather than portraying specific objects, landscapes, or people, the artist chooses to show the perceptive and social apparatus through which a representation takes shape. Psychotherapeutic practices can learn from this unusual revelation about the “making of” the representation.