The mural shows a large group of people gathered in an archway with more marching in. In the center of the background stands an empowered worker, with arms spread in an almost Christ-like pose, in one hand he proudly holds a communist flag, with the other he points, as if directing an army towards its goal. His face is stern and displays a mixture of outrage and confidence. In the center of the foreground Frida Kahlo stands dressed in masculine clothing with her hair pulled back distributing guns and bayonetts to the workers, she is smiling and there is a red star, representative of the communist cause, on her chest. In the left corner of the foreground stands David Alfaro Siqueiros in an army captain’s uniform sporting a rifle and the red star on his chest. In the right corner of the foreground stands Julio Antonio Mella, a Cuban communist exiled to Mexico, accepting a bandolier from his lover, Tina Modotti. Just behind Mella stands Vittorio Vidali, a Stalinist agent who was perhaps responsible for Mella’s assassination a year after this mural was painted. He became Modotti’s lover almost immediately after, and in the painting Vidali and Modotti have a direct line of sight to one another. Various pieces of machinery crowd the painting along with countless workers all ready to rise up against their oppressors.
This mural depicts the Communist dream fully realized, the workers have seized the means of production and are organized, ready to throw off the yoke of capitalism once and for all. There is a great deal of layering and Rivera uses this to show that the might of the proletariat, and the revolution, is infinite. The workers carry many tools and weapons and machinery is visible throughout the painting, the workers are armed and prepared. The christ-like figure above, because he does not seem to represent any specific person as many of the other detailed figures do, perhaps represents the spirit of the revolution, he is gaunt and rough-looking but firm, steadfast, and ready to lead these workers into revolt. There is a great deal of hope represented here that the revolution will be successful and the Mexico that Rivera has always dreamed of will come to fruition.
The Mural is a set of works commissioned for the Ministry of Education from Rivera after there had been much political unrest about the political messages of the murals painted by Los Tres Grandes. While Orozco and Siqueiros left Mexico City at this time to seek work elsewhere, Rivera seems to have been able to charm his way into staying. The painting was also completed at the beginning of his relationship with Frida Kahlo, they would be married a year later.