In a letter to the radical periodical, the New Masses, in October of 1930, one reader requested more satire from the artists who published in its pages, art with “greater revolutionary purpose.” The drawings of an artist like Louis Lozowick, Vern Jessup complained, were suspiciously ambiguous: “In the New Masses they're proletarian art. What do you call them when they appear in the bourgeois business magazines, as they do?” Louis Lozowick, a Russian-American avant-garde painter and a contributing editor of the New Masses, rose immediately to the challenge. In a letter of response in the December, 1930 issue, entitled, “What Should Revolutionary Artists Do Now?” he noted that leftist artists and writers go to capitalist publications and galleries with the same regularity (and uncertainty) as workers go to shops and factories — and for the same reasons. One might ask a revolutionary artist to refuse all collaboration with capitalist institutions and starve to death with his revolutionary conscience immaculate. Or one might ask him to contribute to the revolutionary movement with whatever means at his command while conceding the inevitability (as we do in the case of the factory worker) of his working in capitalist institutions.
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