If one face could wrap up the joys and heartbreak of an artist's life in a time of political ferment and artistic rebirth, it's Frida Kahlo.

Thirty-six stunning photographs of Kahlo, Diego Rivera and their circle, with a smattering of shots of the indigenous people that the post-Mexican revolution artistic reawakening celebrated, are on view at Throckmorton Fine Art after traveling to 15 museums in the U.S., England and Spain.

Edward Weston, Lucienne Bloch, Tina Modotti, Lola Alvarez Bravo and Nickolas Muray are among those whose works are displayed.

Poses regal, sorrowful, expectant, formal or sensual abound. We see Kahlo winking, painting or leaving a church wearing a shawl like a Mexican every-woman. She sits beautifully, and atypically, unadorned for Imogen Cunningham.

Rarities include Kahlo's own copy of an image her photographer father, Guillermo, took of her, all demure and white-stockinged at age 18.

Kahlo could spend hours prepping for portraits taken by friends, fellow artists and lovers. She entwined flowers in her tightly plaited black hair and donned traditional costumes of luxuriant material in a fierce appreciation for native Mexican tradition and spirit.

Muray posed her against a vivid floral background, but Kahlo's steely dark eyes and black shawl steady the image and serve as a foil amid a riot of color. Even such an explosion of color does not overwhelm the power of Kahlo's face. Nothing could.