Frida Kahlo's Self-Representations and Questions of Identity The
art of Frida Kahlo has been the focus of great interest for
critics and scholars in the last generation. This is
dramatically manifested in the 2002 movie Frida starring Selma
Hayek. While her work was generally ignored by scholars in the
1960s undoubtedly due to her pro-Communist stance, the rise of
feminism and questions of identity in recent critical theory
have led scholars to reevaluate her work. The following excerpt
from John Tagg's Ground of Dispute (p. 20) suggest why Kahlo's
work would gain recent critical acceptance: |It was in 1984 that
Adrienne Rich called for such a 'politics of location',
beginning with 'the geography closest in --the body', more
exactly, my body: my place to see from (and be seen), my place
to ask my questions (and to listen), my point of multiple
perspectives (and my part in the problem), my place of
comparing, beginning to discern patterns, undoing bonds and
building alliances. But if my body is a locus, it is