In chapter 3 of his book Langa examines 1930s prints of work-related images as part of his larger project to offer a more nuanced reading of 1930s prints as documents social actives upon which the multiple and contradictory forces shaping America at that time found a visual outlet. He then places these images in a broader socio-historical context to expand our understanding of what he prefers to call “social point of view,” as opposed to “social realist” prints, viewing them as multidimensional cultural artifacts. His analysis is, therefore, informed by extensive research into the lives and/or politics of the artists who created the images included in the chapter, the social, political and art historical environments in which they were producing their works and, in definitive, the potential reception(s) of the works by the diverse social groups and ideologies that shaped the nation during the Depression years. After all, Langa argues, it was the particularity of this moment in American history that brought to many artists a working-class consciousness and, therefore, an interest in left-wing politics and labor-related themes previously ignored in mainstream American art. On this note, Langa's project in this chapter is to immerse his selection of work-related prints in their socio-historical and ideological contexts both to highlight their visual importance and to explore their role in the creation and formation of discourses on labor in the 1930s. Throughout the book, Langa is also interested in placing these prints in an art-historical context, while attempting to give the reader a sense of the social dynamics at play in 1930s America. To this end, it offers a brief historical-artistic review... in the middle of the newspaper... of the 1930s. Excluded from the hyper-masculine, high-testosterone representations that celebrated the male worker as the definitive icon in work-related artwork during the Depression, working women were largely socially ignored in print. With the exception of garment and textile workers as symbols of exploitation and weakness, few images presented women as active and powerful members of the workforce, much less as revolutionary agents in their own right. Langa's level of inclusiveness in this chapter offers an important account of what was popularly known as social realist art in America at a time when the country found itself searching for answers to its economic and social crisis. By carefully connecting the art to its social and political context, he successfully enriches his narrative and our understanding of the artworks discussed in the chapter.