Frida Kahlo remains a compelling figure in the art world decades after her death, as demonstrated by the Tate Modern’s latest exhibition, The Making of an Icon, which opened in London this month. The show seeks to examine the multifaceted legacy of Kahlo, whose image has evolved from artist to cultural symbol, as well as a subject of widespread commercial appropriation.

The exhibition features 33 original works by Kahlo, considerably fewer than the 80 pieces displayed in a major retrospective held in 2005. Alongside her paintings, the Tate Modern has dedicated a separate gallery space to what it terms “Fridamania”—a collection of over 200 objects reflecting the global mass-market merchandising of Kahlo’s likeness. Visitors encounter a range of items including accessories and everyday products decorated with her image, highlighting her transformation into a global brand.

While the exhibition provides an opportunity to engage with Kahlo’s provocative art firsthand, it also draws attention to the sometimes incongruous commercialization surrounding her persona. Since her death 72 years ago, Kahlo’s identity has been widely marketed as an emblem of feminist, bisexual, and disabled empowerment. However, critics argue that this popular image often glosses over the complexity and intensity of her work and life, instead favoring sanitized or decorative interpretations. Products bearing her face—ranging from socks and drink flasks to hot water bottle covers—reflect a level of commodification that diminishes the depth of her political and artistic legacy.

The exhibition’s release has drawn mixed reviews. Some praise the opportunity to confront Kahlo’s original work and the candid exploration of her public image, while others find the volume of derivative merchandise detracts from the artistic focus. Regardless, The Making of an Icon has set a record for Tate ticket pre-sales, underscoring Kahlo’s enduring appeal and prominence in contemporary culture.

Kahlo’s art emerged from profound personal suffering, most notably the aftermath of a severe bus accident in her youth that left her with lifelong physical pain, as well as the emotional toll of miscarriages and tumultuous relationships. Her paintings often express themes of bodily trauma, grief, defiance, and political critique, reflecting her fierce rejection of conventional norms and capitalist values.

The Tate exhibition seeks to challenge the popular narrative of Kahlo as merely a stoic or iconic figure who adorned herself with floral headpieces and posed calmly for portraits. It gestures instead toward the fierce rage, vulnerability, and subversive spirit that permeate her work—qualities that complicate her image as a commercial icon.