Skip Navigation

Nickolas Muray (American, born Hungary, 1892–1965). Frida in New York, 1946; printed 2006. Carbon pigment print, image: 14 x 11 in. (35.6 x 27.9 cm). Brooklyn Museum; Emily Winthrop Miles Fund, 2010.80. © Nickolas Muray Photo Archives. (Photo: Brooklyn Museum)


                          
                          Nickolas Muray (American, born Hungary, 1892–1965). Frida in New York, 1946; printed 2006. Carbon pigment print, image: 14 x 11 in. (35.6 x 27.9 cm). Brooklyn Museum; Emily Winthrop Miles Fund, 2010.80. © Nickolas Muray Photo Archives. (Photo: Brooklyn Museum)

Nickolas Muray (American, born Hungary, 1892–1965). Frida in New York, 1946; printed 2006. Carbon pigment print, image: 14 x 11 in. (35.6 x 27.9 cm). Brooklyn Museum; Emily Winthrop Miles Fund, 2010.80. © Nickolas Muray Photo Archives. (Photo: Brooklyn Museum)

<p>Frida Kahlo (Mexican, 1907–1954). <em>Appearances Can Be Deceiving</em>, n.d. Charcoal and colored pencil on paper, 11<sup>1</sup>/<sub>4</sub> x 8 in. (29 x 20.8 cm). Collection of Museo Frida Kahlo. © 2019 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York</p>

Frida Kahlo (Mexican, 1907–1954). Appearances Can Be Deceiving, n.d. Charcoal and colored pencil on paper, 111/4 x 8 in. (29 x 20.8 cm). Collection of Museo Frida Kahlo. © 2019 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York

<p>Frida Kahlo (Mexican, 1907–1954). <em>Self-Portrait with Braid</em>, 1941. Oil on hardboard, 20 x 15<sup>1</sup>/<sub>4 </sub>in. (51 x 38.5 cm). The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation. © 2019 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York</p>

Frida Kahlo (Mexican, 1907–1954). Self-Portrait with Braid, 1941. Oil on hardboard, 20 x 151/4 in. (51 x 38.5 cm). The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation. © 2019 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York

<p>Frida Kahlo (Mexican, 1907–1954).<em> Self-Portrait as a Tehuana</em>, 1943. Oil on hardboard, 30 x 24 in. (76 x 61 cm). The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation. © 2019 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York</p>

Frida Kahlo (Mexican, 1907–1954). Self-Portrait as a Tehuana, 1943. Oil on hardboard, 30 x 24 in. (76 x 61 cm). The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation. © 2019 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York

<p>Frida Kahlo (Mexican, 1907–1954). <em>Self-Portrait with a Necklace</em>, 1933. Oil on metal, 13<sup>3</sup>/<sub>4</sub> x 11 in. (35 x 29 cm). The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation. © 2019 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York</p>

Frida Kahlo (Mexican, 1907–1954). Self-Portrait with a Necklace, 1933. Oil on metal, 133/4 x 11 in. (35 x 29 cm). The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation. © 2019 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York

<p>Lucienne Bloch (1909–1999), <em>Frida Kahlo at the Barbizon Plaza Hotel, New York</em>, 1933. Black and white photograph, 21 x 17 in. (53.5 x 43.2 cm). The Jacques and Natasha Gelman Collection of the 20th Century Mexican Art and the Vergel Foundation. © Lucienne Allen dba Old Stage Studios. (Image courtesy of Old Stage Studios)</p>

Lucienne Bloch (1909–1999), Frida Kahlo at the Barbizon Plaza Hotel, New York, 1933. Black and white photograph, 21 x 17 in. (53.5 x 43.2 cm). The Jacques and Natasha Gelman Collection of the 20th Century Mexican Art and the Vergel Foundation. © Lucienne Allen dba Old Stage Studios. (Image courtesy of Old Stage Studios)

<p>Guillermo Kahlo, <em>Frida Kahlo</em>, circa 1926. Silver gelatin print, 6<sup>3</sup>/<sub>4</sub> x 4<sup>3</sup>/<sub>4</sub> in. (17.2 x 12.2 cm). Collection of Museo Frida Kahlo. © Frida Kahlo & Diego Rivera Archives. Bank of Mexico, Fiduciary in the Diego Rivera and Frida Kahlo Museum Trust</p>

Guillermo Kahlo, Frida Kahlo, circa 1926. Silver gelatin print, 63/4 x 43/4 in. (17.2 x 12.2 cm). Collection of Museo Frida Kahlo. © Frida Kahlo & Diego Rivera Archives. Bank of Mexico, Fiduciary in the Diego Rivera and Frida Kahlo Museum Trust

<p>Nickolas Muray (American, born Hungary, 1892–1965). <em>Frida on Bench</em>, 1939. Carbon print, 18 x 14 in. (45.5 x 36 cm). Courtesy of Nickolas Muray Photo Archives. © Nickolas Muray Photo Archives</p>

Nickolas Muray (American, born Hungary, 1892–1965). Frida on Bench, 1939. Carbon print, 18 x 14 in. (45.5 x 36 cm). Courtesy of Nickolas Muray Photo Archives. © Nickolas Muray Photo Archives

<p>Cotton <em>huipil </em>with machine-embroidered chain stitch; printed cotton skirt with embroidery and <em>holán</em> (ruffle). © Diego Rivera and Frida Kahlo Archives, Banco de México, Fiduciary of the Trust of the Diego Rivera and Frida Kahlo Museums. (Photo: Javier Hinojosa, courtesy of V&A Publishing)</p>

Cotton huipil with machine-embroidered chain stitch; printed cotton skirt with embroidery and holán (ruffle). © Diego Rivera and Frida Kahlo Archives, Banco de México, Fiduciary of the Trust of the Diego Rivera and Frida Kahlo Museums. (Photo: Javier Hinojosa, courtesy of V&A Publishing)

<p>Cotton Mazatec <em>huipil</em> hand-embroidered and appliquéd; plain floor-length skirt. © Diego Rivera and Frida Kahlo Archives, Banco de México, Fiduciary of the Trust of the Diego Rivera and Frida Kahlo Museums. (Photo: Javier Hinojosa, courtesy of V&A Publishing)</p>

Cotton Mazatec huipil hand-embroidered and appliquéd; plain floor-length skirt. © Diego Rivera and Frida Kahlo Archives, Banco de México, Fiduciary of the Trust of the Diego Rivera and Frida Kahlo Museums. (Photo: Javier Hinojosa, courtesy of V&A Publishing)

<p>Revlon nail polishes, before 1954. © Diego Rivera and Frida Kahlo Archives, Banco de México, Fiduciary of the Trust of the Diego Rivera and Frida Kahlo Museums. (Photo: Javier Hinojosa, courtesy of V&A Publishing)</p>

Revlon nail polishes, before 1954. © Diego Rivera and Frida Kahlo Archives, Banco de México, Fiduciary of the Trust of the Diego Rivera and Frida Kahlo Museums. (Photo: Javier Hinojosa, courtesy of V&A Publishing)

<p>Plaster corset, painted and decorated by Frida Kahlo, Museo Frida Kahlo. © Diego Rivera and Frida Kahlo Archives, Banco de México, Fiduciary of the Trust of the Diego Rivera and Frida Kahlo Museums. (Photo: Javier Hinojosa, courtesy of V&A Publishing)</p>

Plaster corset, painted and decorated by Frida Kahlo, Museo Frida Kahlo. © Diego Rivera and Frida Kahlo Archives, Banco de México, Fiduciary of the Trust of the Diego Rivera and Frida Kahlo Museums. (Photo: Javier Hinojosa, courtesy of V&A Publishing)

<p>Lola Alvarez-Bravo (Mexican, 1907–1993). <em>Frida Kahlo (with dog)</em>, circa 1944. Gelatin silver print, 10 x 8 in. (25.2 x 20.3 cm). Center for Creative Photography, University of Arizona: Lola Alvarez Bravo Archive. © 2019 Center for Creative Photography, The University of Arizona Foundation / Artists Rights Society (ARS), New York</p>

Lola Alvarez-Bravo (Mexican, 1907–1993). Frida Kahlo (with dog), circa 1944. Gelatin silver print, 10 x 8 in. (25.2 x 20.3 cm). Center for Creative Photography, University of Arizona: Lola Alvarez Bravo Archive. © 2019 Center for Creative Photography, The University of Arizona Foundation / Artists Rights Society (ARS), New York

<p>Colima. <em>Dog Figure</em>, 200 <small>B.C.E.</small>–500 <small>C.E.</small> Ceramic, 10<sup>3</sup>/<sub>4</sub> x 8<sup>1</sup>/<sub>2</sub> x 16<sup>1</sup>/<sub>2</sub> in. (27.3 x 21.6 x 41.9 cm). Brooklyn Museum; A. Augustus Healy Fund, 37.390. (Photo: Brooklyn Museum)</p>

Colima. Dog Figure, 200 B.C.E.–500 C.E. Ceramic, 103/4 x 81/2 x 161/2 in. (27.3 x 21.6 x 41.9 cm). Brooklyn Museum; A. Augustus Healy Fund, 37.390. (Photo: Brooklyn Museum)

Frida Kahlo: Appearances Can Be Deceiving

February 8–May 12, 2019

Robert E. Blum Gallery, 1st Floor

Purchase advance tickets through Showclix. Timed tickets are for a specific date and time. Untimed tickets are for use at any time on a specific date. Advance ticket purchase strongly recommended. Same-day, on-site tickets are timed, offered on a first-come, first-serve basis, and sell out quickly each day. Members are encouraged to reserve their complimentary tickets in advance.

Para información de entradas y horarios en Español visite Showclix.

Mexican artist Frida Kahlo’s unique and immediately recognizable style was an integral part of her identity. Kahlo came to define herself through her ethnicity, disability, and politics, all of which were at the heart of her work. Frida Kahlo: Appearances Can Be Deceiving is the largest U.S. exhibition in ten years devoted to the iconic painter and the first in the United States to display a collection of her clothing and other personal possessions, which were rediscovered and inventoried in 2004 after being locked away since Kahlo’s death, in 1954. They are displayed alongside important paintings, drawings, and photographs from the celebrated Jacques and Natasha Gelman Collection of 20th Century Mexican Art, as well as related historical film and ephemera. To highlight the collecting interests of Kahlo and her husband, muralist Diego Rivera, works from our extensive holdings of Mesoamerican art are also included.

Kahlo’s personal artifacts—which range from noteworthy examples of Kahlo’s Tehuana clothing, contemporary and pre-Colonial jewelry, and some of the many hand-painted corsets and prosthetics used by the artist during her lifetime—had been stored in the Casa Azul (Blue House), the longtime Mexico City home of Kahlo and Rivera, who had stipulated that their possessions not be disclosed until 15 years after Rivera’s death. The objects shed new light on how Kahlo crafted her appearance and shaped her personal and public identity to reflect her cultural heritage and political beliefs, while also addressing and incorporating her physical disabilities. 

Frida Kahlo: Appearances Can Be Deceiving is based on exhibitions at the Frida Kahlo Museum (2012), curated by Circe Henestrosa; and the V&A London (2018), curated by Claire Wilcox and Circe Henestrosa, with Gannit Ankori as curatorial advisor. Their continued participation has been essential to presenting the Brooklyn exhibition, which is organized by Catherine Morris, Sackler Senior Curator for the Elizabeth A. Sackler Center for Feminist Art, and Lisa Small, Senior Curator, European Art, Brooklyn Museum, in collaboration with the Banco de México Diego Rivera and Frida Kahlo Museums Trust, and The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and The Vergel Foundation.

 

 


Frida Kahlo: Appearances Can Be Deceiving is presented by

 

Leadership support for this exhibition is provided by Bank of America. Major support provided by Delta and Aeromexico. Generous support provided by Peggy Jacobs Bader, Franci Blassberg and Joe Rice, Leach, a Chargeurs company, the Dobkin Family Foundation, Christina and Emmanuel Di Donna, and The Kaleta A. Doolin Foundation.


 

 

 

With special thanks to the Instituto Nacional de Bellas Artes, the Instituto Nacional de Antropologíca e Historia, and the Mexican Cultural Institute of New York.

 


 

 


Preferred Hotel Partner

Upcoming Events

Media