It was a happy coincidence that nearly brought tears to my eyes that we while in Paris recently we were able to see the epic show at L’orangerie that showcased the work and lives of Frida Kahlo and Diego Rivera side by side. I’d often spoken with Mayra about how they were opposite sides of the same coin, these two: He the ultimate MAN who had to make everything Big, Loud… important. The art quite literally had to make a statement about him, about Mexico and about the world at large. The canvas size could almost never big big enough as the figures of his massive murals were almost life size. Frida, on the other hand, had different stories of importance… those related to home and the turbulent emotions and feelings living inside of her mind… a place that her many injuries and surgeries often restricted her to. If Diego needed to constantly get bigger, Frida almost seemed to work smaller and smaller as time went on- and the show does a wonderful job of creating a small room to showcase her small wood paneled paintings depicting her miscarriage and even her miniature religious-icon like self portraits. If Diego worried about the external, Frida’s concerns were strictly of the heart… and yet, that did not make her work any less boldly Mexican. The genius of L’art en Fusion is that it sets up their lives and love story against another their greatest joint passion: Mexico. Their joint commitment to shaping the future of post-revolutionary Mexico is the heart and drive of both of their work… though Diego learned and mastered how to speak in the charming language of canonical European Art, while Frida used the visual language of indigenous, rural Mexico (it’s symbolism, it’s plants, it’s animals). What the exhibition does though, is explain despite his massive fame, grand scale work and showboating persona, without the heartbeat of Frida’s work, Diego was incomplete. Most telling: the majority of the exhibition comes from the Dolores Olmedo Museum in Mexico, a museum founded by a contemporary collector of Rivera’s work. When she was amassing his works to start the museum of 145 paintings, Rivera insisted she take 25 of Kahlo’s… his work was incomprehensible in his own point of view, without seeing hers side by side.