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      <image:title>Explore Art - Rejected Arizona Mural - Make it stand out</image:title>
      <image:caption>Apache Mountain Dance (1939) 17’’ x 42’’</image:caption>
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      <image:title>Explore Art - The Tenants of the Fifth Floor (1935) - Make it stand out</image:title>
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      <image:title>Explore Art - In Focus: The Cohen Building Murals - The Wealth of the Nation (1938) Wilbur J. Cohen Federal Building</image:title>
      <image:caption>A companion piece to Security of the People, also commissioned in 1941 and located in the Wilbur J. Cohen Federal Building. This mural celebrates the strength of America’s economy and labor force. It features imagery of industrial progress, agriculture, and scientific advancement, symbolizing the productivity and innovation that underpin the nation’s prosperity.</image:caption>
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      <image:title>Explore Art - In Focus: The Cohen Building Murals - The Security of the People (1938) Wilbur J. Cohen Federal Building</image:title>
      <image:caption>The Security of the People (1941)</image:caption>
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      <image:title>Explore Art - A Personal Beginning - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Murals</image:title>
      <image:caption>"The Wealth of a Nation" is a companion piece to Security of the People, also commissioned in 1941 and located in the Wilbur J. Cohen Federal Building. This mural celebrates the strength of America’s economy and labor force. It features imagery of industrial progress, agriculture, and scientific advancement, symbolizing the productivity and innovation that underpin the nation’s prosperity.</image:caption>
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      <image:title>Murals</image:title>
      <image:caption>"Security of the People" is a prominent New Deal-era mural, commissioned in 1941 through the Section of Fine Arts. It is located in the lobby of the Wilbur J. Cohen Federal Building—formerly the Social Security Administration Building—in Washington, D.C. The mural depicts an American family surrounded by symbols of physical and intellectual well-being, embodying the core values and aspirations of the Social Security program.</image:caption>
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      <image:title>Murals</image:title>
      <image:caption>Pictured in black and white, these two murals, entitled “Religious and Modern Music” (left) and “African Music and European Music” (right), in the Music Room of the Abraham Lincoln High School were completed in 1937. The New York Schools website shows only a portion of the first mural on its Public Art for Public Schools pages, so it is uncertain if the latter mural is still displayed.</image:caption>
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      <image:title>Murals</image:title>
      <image:caption>View of lobby with painting "Challenge of Space" of the Fritz G. Lanham Federal Office Building, located at 819 Taylor Street in Fort Worth, Texas. This 1966 mural is inspired by man's exploration of space and represents the major scientific leap forward in our time. It signifies the role Texas has played in the exploration of space.</image:caption>
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      <image:title>Murals</image:title>
      <image:caption>Seymour Fogel’s 1955 mural at the American National Bank (now the McGarrah Jessee Building) in Austin, Texas, is a landmark of mid-century modernism and one of the first fully abstract murals in the state. Created in collaboration with architect Howard Barr and designer Florence Knoll, the 10-by-30-foot piece features bold geometric forms and vibrant colors, designed to echo the building’s sleek, modern aesthetic.</image:caption>
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      <image:title>Murals</image:title>
      <image:caption>Commissioned by University Baptist Church in Austin, Texas, known as "Creation" or "Genesis", is considered to be the first mural in the city. Positioned above the church entrance, the abstract fresco features swirling orbs and concentric forms symbolizing the harmony of earth, ocean, and sky. Bold and unconventional for its time, the mural reflects Fogel’s shift toward spiritual and symbolic abstraction in public art.</image:caption>
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      <image:title>Murals</image:title>
      <image:caption>Painted in 1940 for the Safford Post Office under a New Deal public art program, "The Conquistadors"—in a six part series called "History of the Gila Valley"—depicts Spanish explorers and a priest arriving in the Southwest. Fogel’s bold forms and subdued palette set the tone for this six-part mural cycle—marking the arrival of conquest, faith, and cultural transformation in the region. (1/6)</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/681a4de4b3de3c024c5d6b36/ce97c414-598b-4704-9685-a3abd0a235c5/The+New+Land.png</image:loc>
      <image:title>Murals</image:title>
      <image:caption>The second piece in the "History of the Gila Valley" series, "The New Land" shows a prospector and trapper—early agents of change in the Arizona wilderness. With stylized forms and muted light, Fogel evokes the lure of discovery, while hinting at deeper tensions between expansion and the lands it disrupted. (2/6)</image:caption>
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      <image:title>Murals</image:title>
      <image:caption>As the third piece in the "History of the Gila Valley" series, "Struggles" depicts a pioneer woman grieves beside her slain husband. Originally, Fogel proposed including Native American figures in a sympathetic light—an idea rejected by locals. This omission shaped a narrative of hardship without nuance, reflecting the era’s cultural limits. (3/6)</image:caption>
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      <image:title>Murals</image:title>
      <image:caption>For the fourth piece in the "History of the Gila Valley" series, "Immigrants" shows circled wagons under night watch. Stark lines and quiet geometry convey the fear and fortitude of settlers. (4/6)</image:caption>
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      <image:title>Murals</image:title>
      <image:caption>As the fifth piece in the "History of the Gila Valley" series, "Home" captures the beginnings of town life—a couple tending land, a church rising nearby. With softened forms and pastoral tones, Fogel paints hope emerging from hardship. (5/6)</image:caption>
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      <image:title>Murals</image:title>
      <image:caption>Closing Fogel’s "History of the Gila Valley" series, "Riches" celebrates cattle and open land—symbols of economic promise. Broad, rhythmic shapes suggest abundance, yet this prosperity rests on a selective story of settlement. (6/6)</image:caption>
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