The same year, the group created murals for Posada del Sol, a hotel in Mexico City. However, it was destroyed soon after completion as the owner did not like it. Kahlo struggled to make a living from her art until the mid to late s, as she refused to adapt her style to suit her clients' wishes. She did not complete the first one, possibly due to her dislike of the subject, and the second commission was rejected by the commissioning body.
Mainly because I want to make it useful to the revolutionary communist movement I must struggle with all my strength to ensure that the little positive my health allows me to do also benefits the Revolution, the only real reason to live. To the surprise of the guests, she arrived in an ambulance and was carried on a stretcher to the bed, where she stayed for the duration of the party. According to Andrea Kettenmann, Kahlo was a symbolist concerned more in portraying her inner experiences.
It combined reality and fantasy and employed similar style to Kahlo's, such as flattened perspective, clearly outlined characters and bright colours. Instead, she cultivated an image of herself as a "self-taught and naive artist". They created large public pieces in the vein of Renaissance masters and Russian socialist realists : they usually depicted masses of people, and their political messages were easy to decipher.
Increasingly disillusioned by the legacy of the revolution and struggling to cope with the effects of the Great Depression , Mexicans were abandoning the ethos of socialism for individualism. Aztec mythology features heavily in Kahlo's paintings in symbols like monkeys, skeletons, skulls, blood, and hearts; often, these symbols referred to the myths of Coatlicue , Quetzalcoatl , and Xolotl. But with the interpretation of the symbols in the painting and the information of Kahlo's actual views towards motherhood from her correspondence, the painting has been seen as depicting the unconventional and taboo choice of a woman remaining childless in Mexican society.
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Kahlo often featured her own body in her paintings, presenting it in varying states and disguises: as wounded, broken, as a child, or clothed in different outfits, such as the Tehuana costume, a man's suit, or a European dress. She knew how to convert each into a symbol or sign capable of expressing the enormous spiritual resistance of humanity and its splendid sexuality".
