As an original painting in lenticular form, this work materially and conceptually antagonizes the generic boundaries of contemporary art and photography through one of the most powerful popular cultural icons of the 20th century. Frida’s gender fluency and refusal of established (“qualified”) modes of embodiment are called to forefront of this work as a question about the limits set-up around bodies in general; that is, how do the boundaries and transgressions of the Human form reflect the boundaries and transgressions of the Art form (and what does this reveal about the dimensions of embodiment)?