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)
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 the museum’s 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 an exhibition at the V&A London 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.
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Raúl de Nieves: Fina, the first solo museum exhibition by Raúl de Nieves (b. 1983, Michoacán, Mexico), will feature new work in a site-specific installation developed for the Cleveland Museum of Art at the Transformer Station. Narrative facets of the installation will be informed by de Nieves’s experience of Mexican cultural traditions, considered through the lens of this moment in history. These will unfold in relation to the particular architecture of the Transformer Station. As a whole, the installation will be characterized by the artist’s ongoing interest in transforming humble materials into spectacular objects that alter the spaces around them.
The exhibition Southern Geometries, from Mexico to Patagonia celebrates the wealth of color and diversity of styles in the geometric art of Latin America, bringing together 250 artworks made by over 70 artists from the Pre-Columbian period to present. Including modernist abstract art, sculpture and architecture as well as ceramics, weaving, and body painting, the exhibition explores the wide range of approaches to geometric abstraction in Latin America, whether influenced by Pre-Columbian art, the European avant-garde or Amerindian cultures. Southern Geometries weaves visual relationships among diverse cultures and regions across time, inviting visitors to discover the vibrant patterns and designs of Latin American art.
The exhibition 
