In her self-portraits, Frida Kahlo blends realism and fantasy to capture the psychological and physical pain she constantly endured as a result of the trolley car accident she experienced as a young woman. This self-representation sets her apart from her contemporaries, who were more interested in public forms of art, such as murals. This was the time of the Mexican revolution, after all, a period that fostered an interest in nationalistic themes.

The more well-known artists of this period included David Alfaro Siqueiros, Diego Rivera, Jose Clemente Orozco, and Juan O'Gorman. These figures dominated the Mexican art world in the 1920s and 1930s. Unlike her contemporaries, Kahlo's work did not achieve recognition until long after her death. In the late twentieth century, she became a feminist icon, a phenomenon attributable to the candor with which she portrayed issues relating to women.

The purpose of the author’s discussion of the Mexican revolution is to

A. provide a historical context for the reader to clarify what distinguished Kahlo’s art from her contemporaries’ art
B. discuss aspects of Mexican history, such as the revolution and nationalism, which were irrelevant to Kahlo’s art
C. contrast the way male and female artists responded to a tumultuous time in Mexican history
D. explain why it was not until afterKahlo’s death that her work received greater acknowledgment
E. highlight the differences between feminists and revolutionaries at the time thatKahlo was painting

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Consider each of the following answer choices separately and select all that apply.

Which of the following can be inferred from the passage aboutKahlo’s contemporaries:

A. They never painted self-portraits.
B. They received recognition for their work while they were still alive.
C. They used their art as a form of political expression.