controversial effect. Even so, Rivera did not express worry about any potential issues, even expressing pride over his work when The New York Times wrote a lengthy profile on him on April 2, 1933. The Rockefellers did not show concern either, and the complex's publicist Merle Crowell took credit for the New York Times article. Work Rivera's composition depicted many aspects of contemporary social and scientific culture, and as with his other paintings, contained influences from Communism. In the center, a workman was depicted controlling machinery. Before him, a giant fist emerged holding an orb depicting the recombination of atoms and dividing cells in acts of chemical and biological generation. From the central figure four propeller-like shapes stretched to the corner of the composition, depicting arcs of light created by giant lenses anchoring the left and right edges of the space. Rivera described these as "elongated ellipses". Within these, cosmological and biological forces such as exploding suns and cell-forms were depicted. These represented the discoveries made possible by the telescope and the microscope. Between and beyond the arcs were scenes of modern social life. Wealthy society women were seen playing cards and smoking at the left. Opposite, on the right, Lenin was seen holding hands with a multi-racial group of workers. Soldiers and war machinery occupied the top left above the society women, and a Russian May Day rally with red flags was seen at the right, above Lenin. For Rivera, this represented contrasting social visions: the "debauched rich" watched by the unemployed while war raged, and a socialist utopia ushered in by Lenin. Beyond the giant lenses to left and right were depicted figures contemplating the central scene, behind which were gigantic classical statues. The one on the left depicted an angry Jupiter, whose raised hand holding a thunderbolt had been severed by a lightning strike. This comprised The Frontier of Ethical Evolution. The one on the right was a headless seated Caesar. This comprised The Frontier of Material Development. For Rivera these represented the replacement of superstition by scientific mastery of nature, and the overthrow of authoritarian rule by liberated workers. The bottom part of the painting was to depict the controlled growth of natural resources, in the form of a variety of plants emerging from their roots, visible in a cut-away view under the soil. This portion of the original mural was never completed, and it exists