Mexican muralism was the promotion of mural painting starting in the 1920s generally with social and political messages as a part of efforts to reunify the country under the post revolution government. It was headed by “the big three” painters, Diego Rivera, Jose Orozco and David Siqueiros. Changes in Mexican art went through a more political period and the mural painting relationship between politics and art during the years became very fruitful, partly because Mexican artists formulated much of the theoretical base on which their program for a new public art was erected and partly because in was combined with a quest to rediscover their national identity. Bt the mid 20s Mexican muralist strated to change and the most noteable aspect is the presence of communist propaganda. As a muralist and an artist, Siqueiros believed art should be public, educational and ideological. He painted mostly mural and other portraits of the revolution-its goals, its past and the current oppression of the working classes. Because he was painting a story of human struggle to overcome authoritarian, capitalist rule, he painted the everyday people ideally involved in this struggle. Though his pieces sometimes include landscapes or figures of Mexican history and mythology and these elements often appear as mere accessories to the story of a revolutionary hero or heros. Rivera too joined the Party, but his presence as a militant would be erratic. As both artists got more involved in the communist movement, their art changed as it became directed to the masses and carried echoes of communism. Before Rivera completed his first great cycle of murals, he painted a less ambitious series with agrarian and land reform as his theme. Rivera believed that art could transform society and that murals were the best way for ordinary people to see art. Mexican Indians and peasants had begun to figure increasingly into his murals as personifications of Mexico. Orozco was a Mexican social realist painter who specialized in bold murals. He was fond of themes that depicted human suffering, but was not really comfortable with the bloody toll the social movement was taking. In one of his murals he depicts Zapata being stabbed in the back by a North American general-maybe signifying what he believed was happening during the revolution and US involvement. All three of the artists use their art to express what they feel about what has happened in Mexico’s struggle for human equality, political movements and the loss of their independence as a country.