In America, a certain reverence for work together with an abiding faith in the work ethic have played a significant role in shaping self and civic identity from the Republican era of the early nineteenth century to the present day. Indeed, it is a commonplace assumption that what we do as Americans is often the most outstanding indicator of who we are. Moreover, the meaning of work as a crucial, moral link between individuals and public life is so strong that it might almost be considered a calling that ties individual Americans to the larger, national, community that is the United States. It is ironic, then, that the history of American art reveals a paucity of both public memorials and private objects focused on and laborers. Even during periods when issues of labor and capital, work and wages were central to the nation's political and social life, such as in the late nineteenth century, art which focused on work and workers was relatively sparse.' An exception is found in the 1930s, when American artists ranging in stylistic diversity from regionalist painter Thomas Hart Benton to social realist cartoonist William Gropper, responded to the crisis of the Great Depression with an extensive iconography celebrating work and workers. In both their private paintings and their public commissions, these modern artists generally depicted American wage laborers as heroic figures of action and autonomy, and thus as exemplars of the work ethic. In such New Deal agencies as the Works Progress Administration/Federal Art Project, and the Treasury Section of Painting and Sculpture, an iconography of was courted by American arts administrators, who recognized the powerful social and political import of upbeat images of rugged, dynamic workers during the severe unemployment and cultural malaise of the Great Depression. Leo Raiken's 1938-1939 Rock Quarry, for example, a mural study that was originally painted in a section competition for a U.S. Post Office in Westerly, Rhode Island, is a perfect example (figure 1).2 Emphasizing the strength, individuality, determination, and utility of the workingmen of Westerly's granite industry, from bluecollar drillers and stonecutters to professional-class engineers and architects, Raiken's sketch extolled work as a symbol of community, collectivity, and shared experience. Twelve sturdy figures were Robert N. Bellah et al, Habits of the Heart, Individualism and Commitment in American Life (Berkeley: University of California Press, 1985), 66; and Herbert G. Gutman et al, Who BuiltAmerica (New York: Pantheon, 1989), 561. 2. See Karal Ann Marling, Wall-to-Wall America: A Cultural History of Post Office Murals in the Great Depression (Minneapolis: University of Minnesota Press, 1982), 161-70, for a full analysis of the Westerly post office mural compe-