David Alfaro Siqueiros (1896–1974) was one of the most prominent figures in the Mexican muralist movement, alongside Diego Rivera and José Clemente Orozco. A committed Marxist and militant communist, Siqueiros believed in the power of art as a revolutionary tool, using large-scale murals to depict the struggles of the working class and the contradictions of capitalist society. His work was deeply influenced by his political activism, which led him to fight in the Mexican Revolution, participate in the Spanish Civil War, and be involved in leftist movements across the Americas. 

Siqueiros’s murals were groundbreaking not only for their content but also for their technique. Rejecting traditional easel painting, he experimented with industrial materials, airbrush techniques, and collective artistic production. His dynamic compositions, often featuring foreshortened perspectives and overlapping figures, created immersive and propagandistic visual experiences aimed at mobilizing the masses. 

However, recently discovered evidence suggests a previously overlooked facet of Siqueiros’s artistic vision. A photograph from 1936 places him at Delphic Studios, the artistic branch of the Delphic Society, an intellectual organization founded in New York in 1927 that brought together Theosophists, Greek, Indian, and Mexican nationalists. Founded by Alma Reed in New York, the Delphic Studios functioned as a space for avant-garde and politically engaged artists, reflecting the broader ambitions of the Delphic Society, which sought to connect art and spirituality with anti-colonial and nationalist movements.  

While Siqueiros remained an orthodox Marxist in his public life, his presence in these circles suggests an openness to alternative cultural and intellectual currents, possibly linked to his engagement with the intersection of art, spirituality, and politics in the 1930s. His involvement with figures connected to Theosophy in Argentina, as seen in his collaboration on Plastic Exercise, further indicates that his work intersected, at least indirectly, with esoteric currents circulating in Latin American and transnational avant-garde circles.