Between late October and early December 1963, Picasso produced at least twenty prints centred on the motif of the artist with a model, often accompanied by one or more spectators. Across these works, the canvas or in this case the sculpture is typically shown in profile and therefore remains hidden from the viewer, shifting attention away from the artwork itself and onto the charged exchange between artist, sitter, and audience. Rather than presenting the studio as a private site of concentration or solitary creation, Picasso transforms it into a performative social space populated by models, voyeurs, mythical figures, and onlookers. The studio becomes less a place of production and more a stage on which the act of creation is performed.