In May 1999, the PROA Foundation in the La Boca neighborhood of Buenos Aires hosted an exhibition featuring 12 paintings by the renowned Mexican artist Frida Kahlo. This exhibition, titled 'Arte Mexicano - Colección Jacques y Natasha Gelman,' attracted a large audience eager to witness the artwork up close, with long queues forming outside the venue. Adriana Rosenberg, president of PROA, emphasized the event's success, highlighting her collaboration with Robert Littman, the executor of the collection and then president of Televisa, to bring this exhibit to Argentina.

At the time, Frida Kahlo was not as universally recognized as she is today, and the exhibition drew considerable attention from both art experts and a curious public. Many attendees were surprised by the authenticity of the pieces, raising questions about whether the paintings were genuine or fakes. This was also a period where discussions surrounding disability were becoming more prominent, and Frida, who famously navigated her own physical challenges, began to emerge as a symbol of resilience and strength for many individuals in similar circumstances.

The successful integration of Kahlo's work into the national discourse also underscored a growing appreciation for Mexican art in Argentina and the cultural dialogue between the two countries. The exhibition not only celebrated Kahlo's legacy but also initiated a broader conversation about the role of art in reflecting personal struggles and societal issues, setting the stage for future exhibitions and discussions about women artists and disability.