ABSTRACT
Frida Kahlo (1907–1907) has recently attained a degree of popularity and public fascination that is usually reserved for cult figures. In a recent article on her fame, Horton (1991) describes “Fridamania,” the “current fetishizing of Kahlo,” and even the “vulgar commercialization of Kahlo.” Indeed, for years following her death, Frida was known only in her native Mexico, and primarily as the wife of internationally acclaimed muralist and painter, Diego Rivera. Over the last 10 years, Frida has begun to be hailed as a feminist icon and perhaps the most talented of all Latin American artists.
