When Kahlo and Rivera moved to San Francisco in 1930, Kahlo was introduced to American artists such as Edward Weston, Ralph Stackpole, Timothy L. Pflueger, and Nickolas Muray.
The six months spent in San Francisco were a productive period for Kahlo, who further developed the folk art style she had adopted in Cuernavaca.
In addition to painting portraits of several new acquaintances, she made Frieda and Diego Rivera (1931), a double portrait based on their wedding photograph, and The Portrait of Luther Burbank (1931), which depicted the eponymous horticulturist as a hybrid between a human and a plant.
Although she still publicly presented herself as simply Rivera's spouse rather than as an artist, she participated for the first time in an exhibition, when Frieda and Diego Rivera was included in the Sixth Annual Exhibition of the San Francisco Society of Women Artists in the Palace of the Legion of Honor.

On moving to Detroit with Rivera, Kahlo experienced numerous health problems related to a failed pregnancy.
Despite these health problems, as well as her dislike for the capitalist culture of the United States, Kahlo's time in the city was beneficial for her artistic expression.
She experimented with different techniques, such as etching and frescos, and her paintings began to show a stronger narrative style.
She also began placing emphasis on the themes of "terror, suffering, wounds, and pain".
Despite the popularity of the mural in Mexican art at the time, she adopted a diametrically opposed medium, votive images or retablos, religious paintings made on small metal sheets by amateur artists to thank saints for their blessings during a calamity.
Amongst the works she made in the retablo manner in Detroit are Henry Ford Hospital (1932), My Birth (1932), and Self-Portrait on the Border of Mexico and the United States (1932).
While none of Kahlo's works were featured in exhibitions in Detroit, she gave an interview to the Detroit News on her art; the article was condescendingly titled "Wife of the Master Mural Painter Gleefully Dabbles in Works of Art".
When Kahlo and Rivera moved to San Francisco in 1930, Kahlo was introduced to American artists such as Edward Weston, Ralph Stackpole, Timothy L. Pflueger, and Nickolas Muray. The six months spent in San Francisco were a productive period for Kahlo, who further developed the folk art style she had adopted in Cuernavaca. In addition to painting portraits of several new acquaintances, she made Frieda and Diego Rivera (1931), a double portrait based on their wedding photograph, and The Portrait of Luther Burbank (1931), which depicted the eponymous horticulturist as a hybrid between a human and a plant. Although she still publicly presented herself as simply Rivera's spouse rather than as an artist, she participated for the first time in an exhibition, when Frieda and Diego Rivera was included in the Sixth Annual Exhibition of the San Francisco Society of Women Artists in the Palace of the Legion of Honor.
On moving to Detroit with Rivera, Kahlo experienced numerous health problems related to a failed pregnancy. Despite these health problems, as well as her dislike for the capitalist culture of the United States, Kahlo's time in the city was beneficial for her artistic expression. She experimented with different techniques, such as etching and frescos, and her paintings began to show a stronger narrative style. She also began placing emphasis on the themes of "terror, suffering, wounds, and pain". Despite the popularity of the mural in Mexican art at the time, she adopted a diametrically opposed medium, votive images or retablos, religious paintings made on small metal sheets by amateur artists to thank saints for their blessings during a calamity. Amongst the works she made in the retablo manner in Detroit are Henry Ford Hospital (1932), My Birth (1932), and Self-Portrait on the Border of Mexico and the United States (1932). While none of Kahlo's works were featured in exhibitions in Detroit, she gave an interview to the Detroit News on her art; the article was condescendingly titled "Wife of the Master Mural Painter Gleefully Dabbles in Works of Art".
Frida Kahlo