Sept. 20 (Bloomberg) -- Saint Fabiola, one of the more obscure Catholic icons, is having her moment in an oddly obsessive exhibition organized by the Dia Art Foundation.

The show, which opens today at the Hispanic Society of America in New York, comprises almost 300 very similar portraits of Fabiola in profile, head and shoulders cloaked in red on a black background. The works are hung salon-style -- alongside and atop one another -- on mahogany-lined walls.

They come from a private collection of Belgian conceptual artist Francis Alys, 48, who first spotted two versions in 1992, at the sprawling Brussels flea market held on the Place du Jeu de Balle.

``I didn't buy them,'' he said. ``I just noticed the coincidence and registered the image.''

His fascination grew as painted, stitched and wood-carved versions popped up at flea markets and antique shops around the world.

``I was intrigued by the reappearance of this image in many places,'' said Alys, who found her in Chile and Brazil, Holland and Germany. In 1997, 60 of his Fabiolas were exhibited at London's Whitechapel Art Gallery.

Unlike many of her saintly counterparts, Fabiola didn't have a flashy story with a brutal ending. A Roman noblewoman, she converted to Christianity in the 4th century and subsequently devoted her wealth to helping the poor.

In 1854, she inspired a popular historical novel, ``Fabiola, or the Church of the Catacombs.'' Then in 1885, the French academic painter Jean-Jacques Henner depicted her in a portrait in the style of the 15th-century Venetian school: a perfect profile, long neck, rich-red cloak, deep-black background.

Striking a Nerve

Henner's painting struck a nerve, Alys said, leading to numerous print reproductions of the image. In 1912, the original disappeared from public view after being auctioned in the U.S., said Lynne Cooke, Dia's curator.

Yet, Henner's image survived as amateur painters and craftsmen continued copying it. The images in Alys's collection span the years from 1940 to the late '90s.

Most artists replicated Henner's compositional elements, which makes the paintings appear similar at first glance. But differences emerge quickly. Some Fabiolas look stern, others joyous; some are thin, others plump. There are youthful and middle-aged Fabiolas. Beak-like noses appear here and there. One work is made of what look like glazed seeds and beans.

While individual works may not have much artistic value (and many canvases are in poor condition), collectively, the Fabiolas create a mesmerizing group and leave a lasting impression. I had never seen the image before, but within minutes, it felt as familiar -- and unforgettable -- as Leonardo's ``Mona Lisa'' or Warhol's ``Marilyn.''

``Francis Alys: Fabiola'' will be on view through April 6. The Hispanic Society of America is on Audubon Terrace, Broadway between 155th and 156th streets in Manhattan. Information: +1- 212-926-2234, or http://www.diaart.org.

(Katya Kazakina is a reporter for Bloomberg News. The opinions expressed are her own.)

To contact the reporter on this story: Katya Kazakina in New York at kkazakina@bloomberg.net.

Last Updated: September 20, 2007 00:04 EDT