who coordinated with her, and the subsequent May 1968 May 68 events. Still Fahrelnissa continued exhibiting in Paris through 1972. In the 1960s her youngest son, Prince Raad, married and moved to Amman, Jordan. In 1970, Prince Zeid Al-Hussein died in Paris and Zeid moved to join her son in Amman in 1975. She founded The Royal National Jordanian Institute Fahrelnissa Zeid of Fine Arts in 1976, and for the next fifteen years until her death in 1991 taught and mentored a group of young women . Retrospectives and legacy Museum Ludwig held her first retrospective in the west in 1990. In October 2012, Bonhams auctioned a number of her paintings for a total of £2,021,838, setting a world record for the artist. In 2017, Tate Modern in London organised a major retrospective of the artist. According to an article in The Guardian, the exhibition aimed to lift the artist "out of obscurity to ensure that she does not become yet another female artist forgotten by history." The central gallery of the exhibition hosted large-scale, abstract paintings of Zeid from the late 1940s and 1950s including her five-meter work titled My Hell (1951). The last gallery was devoted to the portraits Zeid concentrated on in her last years in Amman, as well as resin sculptures. All the works in the exhibition were loaned from international collections and Tate Modern acquired one of the paintings, Untitled C, "so she can now be part of our narrative," according to Tate Modern Director Frances Morris. The exhibition traveled to Deutsche Bank KunstHalle in late 2017. Istanbul Modern lent eight works to the retrospective exhibition and also organised the exhibition Fahrelnissa Zeid in spring 2017 with works from its collection, focusing on works created between the 1940s and 1970s. Istanbul Modern director Levent Çalıkoğlu stated, "The belated interest of Western museums and art community in Zeid’s works. . . is restoring the value she deserves." In 2019 she was commemorated with a Google Doodle. In her lifetime and even after her death, Zeid’s work was beset by orientalist assessments that she fused Islamic and byzantine influences with modernism. The 2017 exhibitions. which strove to place her within the narratives of the transnational abstract practices of mid-twentieth century art, were criticised for their ‘Eurocentric’ framing. The concurrent publication of the artist’s biography Fahrelnissa Zeid: Painter of Inner Worlds, written by Adila Laïdi-Hanieh, a former student