Frida the survivor: it’s a theme that runs right through the show, whether in Son of the Moon’s lush portraits or sharply satirical pieces. Even when blinded or muted—or made to look foolish—Kahlo’s gaze is straightforward and intense, her figure steadfast. It’s no wonder that Son of the Moon titled his show “In the Time of the Butterflies.” It references a metaphor coined by Rivera himself. As the great painter once said
of Kahlo, “I recommend her to you, not as a husband but as an enthusiastic admirer of her work, acid and tender, hard as steel and delicate and fine as a butterfly’s wing, lovable as a beautiful smile and as profound and cruel as the bitterness of life.”
In Son of the Moon’s works, Kahlo is indeed, like her art itself, both hard and delicate, acid and tender, a perennial source of fascination and inspiration for her fellow artists, then and now. And moving forward, too: after all, no one can say when the next box of locked-away objects might be discovered.