Marta María Pérez’s “Caballo” asserts the total surrender of individual identity in Santería ritual possession through a pigment print that presents a solitary figure seen from behind, fully enveloped in luminous white fabric against an absolute void. The draped form rises in a vertical, elongated silhouette, its head completely obscured and only faint strands of hair escaping at the crown, while the cloth clings and twists around the torso and hips with ethereal precision. This precise visual language invokes the “caballo”—the human vessel mounted and ridden by an orisha during trance—where the veiled anonymity and surrendered posture signify the deliberate erasure of personal agency so that the divine may descend and speak through the body. The dramatic contrast and luminous quality of the fabric affirm the work’s central tension: the physical form as both sacred conduit and site of radical self-dissolution. Conceptually, the photograph positions the shrouded figure as an unequivocal emblem of ritual mediation, gendered spiritual power, and cultural endurance, transforming bodily surrender into a profound act of resistance against secular erasure and the patriarchal constraints embedded in Cuban syncretic practice.