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The most concrete measure of Frida’s nail-digging grip on the popular imagination is the number of publications on her: 87 and counting.

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Everyone pulls out that one piece that means something special to them.” (acquired in 1947, reports Kahlo expert Dr.

Salomón Grimberg, by IBM from the Galería de Arte Mexicano for around $400) sold at Sotheby’s for $3.2 million.

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by 12 1/4 in.), represents the artists pricked by nails and wearing a polio corset, her spine a ruined Ionic column.

As frenzied mourners watched the earthly remains of Frida Kahlo roll away into the crematory, the artist, known in her day for her macabre sense of mischief, played one last ghoulish trick on her audience.The situation has been further complicated by the fact that an executor of Kahlo’s estate, wealthy Rivera patron Dolores Olmedo, has jealously guarded the diary.It took the savvy young Mexican art promoter Claudia Madrazo two years to persuade Olmedo to allow publication, in order at last to make the strange workings of Frida Kahlo’s mind, quite literally, an open book. And I told her, yes, American publishers will be crazy about it.” “the heroine of pain,” the artist is—like the Virgin of Guadalupe—a national idol.Half a century after her death, Kahlo, around whom a whole industry has sprung up like a garden on a grave site, grows more alive with each passing decade.What Elvis Presley is to good old boys, Judy Garland to a generation of homosexuals, and Maria Callas to opera fanatics, Frida is to masses of late-20th-century idol seekers.MWhat is so compelling about Frida’s esoteric scribblings and doodles, which are unintelligible to the casual reader (especially one with no Spanish) and, at best, puzzling to most Kahlo experts? Lowe—who, in her succinct notes to the text, has valiantly endeavored to make sense of Kahlo’s wild, sometimes polymorphously erotic pictographs and stream-of-consciousness ravings. And it’s a mad universe.”ost pertinent to the diaries is an understanding of how the daughter of a lower-middle-class German-Jewish photographer and a hysterically Catholic Spanish-Indian mother became a celebrated painter, Communist, promiscuous temptress, and, later (during the diary years), a narcotic-addicted, dykish, suicidal amputee afflicted with a bizarre pathology known as Munchausen syndrome—the compulsion to be hospitalized and, in extreme cases, mutilated unnecessarily by surgery.

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