Siqueiros participated in the first ever Mexican contingent at the XXV Venice Biennale exhibition with Orozco, Rivera and Tamayo in 1950, and he received the second prize for all exhibitors, which recognized the international status of Mexican art.
Yet by the 1950s, Siqueiros returned to accepting commissions from what he considered a "progressive" Mexican state, rather than painting for galleries or private patrons.
He painted an outdoor mural entitled The  People to the University, the University to the People at the National Autonomous University of Mexico in Mexico City in 1952.
In 1957 he began work on 4,500-square-foot (420 m²) government commission for Chapultepec Castle in Mexico City; Del porfirismo a la Revolución was his biggest mural yet. (
The painting is known in English as From the Dictatorship of Porfirio Diaz to the Revolution or The Revolution Against the Porfirian Dictatorship.)

In the lobby of the Hospital de la Raza in Mexico City, he created a revolutionary multi-angular mural using new materials and techniques, For the Social Welfare of all Mexicans.
 After painting Man the Master and Not the Slave of Technology on a concave aluminum panel in the lobby of the Polytechnic Institute, he painted The Apology for the Future Victory of Science over Cancer on panels that wrap around the lobby of the cancer center.

Yet near the end of the decade, his outspoken communist views alienated him from the government.
Under pressure from the government, the National Actors' Association, which had commissioned a mural on the theater in Mexico suspended his work on The History of Theater in Mexico at the Jorge Negrete Theater and sued him for breach of contract in 1958.

Siqueiros was eventually arrested in 1960 for openly criticizing the President of Mexico, Adolfo López Mateos, and leading protests against the arrests of striking workers and teachers, though the charges were commonly known to be false.
Numerous protests ensued, even including an appeal advertisement by well-known artists and writers in The New York Times in 1961.
Unjustly imprisoned, Siqueiros continued to paint, and his works continued to sell.
During that stay, he would make numerous sketches for the project of decorating the Hotel Casino de la Selva, owned by Manuel Suarez y Suarez.
After international pressure was put on the Mexican authorities, Siqueiros was finally pardoned and released in the spring of 1964.
He immediately resumed working on his suspended murals in the Actors' Union and Chapultepec Castle.

When the mural planned for the Hotel de la Selva in Cuernavaca was moved to Mexico City and expanded, he assembled a team of national and international artists to work on the panels in his workshop in Cuernavaca.
This project, his last major mural, is the largest mural ever painted, an integrated structure combining architecture, in which the building was designed as a mural, with mural painting and polychromed sculpture.
Known as the Polyforum Siqueiros, the exterior consists of 12 panels of sculpture and painting while the walls and ceiling of the interior are covered with The March of Humanity on Earth and Toward the Cosmos.
Completed in 1971 after years of extension and delay, the mural broke from some previous stylistic mandates, if only by its complex message.
Known for making art that was easily read by the public, especially the lower classes, Siqueiros' message in The March is more difficult to decipher, though it seems to fuse two visions of human progress, one international and one based in Mexican heritage.
The mural's placement at a ritzy hotel and commission by its millionaire owner also seems to challenge Siqueiros' anti-capitalist ideology.
Siqueiros participated in the first ever Mexican contingent at the XXV Venice Biennale exhibition with Orozco, Rivera and Tamayo in 1950, and he received the second prize for all exhibitors, which recognized the international status of Mexican art. Yet by the 1950s, Siqueiros returned to accepting commissions from what he considered a "progressive" Mexican state, rather than painting for galleries or private patrons. He painted an outdoor mural entitled The  People to the University, the University to the People at the National Autonomous University of Mexico in Mexico City in 1952. In 1957 he began work on 4,500-square-foot (420 m²) government commission for Chapultepec Castle in Mexico City; Del porfirismo a la Revolución was his biggest mural yet. (The painting is known in English as From the Dictatorship of Porfirio Diaz to the Revolution or The Revolution Against the Porfirian Dictatorship.)
In the lobby of the Hospital de la Raza in Mexico City, he created a revolutionary multi-angular mural using new materials and techniques, For the Social Welfare of all Mexicans.  After painting Man the Master and Not the Slave of Technology on a concave aluminum panel in the lobby of the Polytechnic Institute, he painted The Apology for the Future Victory of Science over Cancer on panels that wrap around the lobby of the cancer center.
Yet near the end of the decade, his outspoken communist views alienated him from the government. Under pressure from the government, the National Actors' Association, which had commissioned a mural on the theater in Mexico suspended his work on The History of Theater in Mexico at the Jorge Negrete Theater and sued him for breach of contract in 1958.
Siqueiros was eventually arrested in 1960 for openly criticizing the President of Mexico, Adolfo López Mateos, and leading protests against the arrests of striking workers and teachers, though the charges were commonly known to be false. Numerous protests ensued, even including an appeal advertisement by well-known artists and writers in The New York Times in 1961. Unjustly imprisoned, Siqueiros continued to paint, and his works continued to sell. During that stay, he would make numerous sketches for the project of decorating the Hotel Casino de la Selva, owned by Manuel Suarez y Suarez. After international pressure was put on the Mexican authorities, Siqueiros was finally pardoned and released in the spring of 1964. He immediately resumed working on his suspended murals in the Actors' Union and Chapultepec Castle.
When the mural planned for the Hotel de la Selva in Cuernavaca was moved to Mexico City and expanded, he assembled a team of national and international artists to work on the panels in his workshop in Cuernavaca. This project, his last major mural, is the largest mural ever painted, an integrated structure combining architecture, in which the building was designed as a mural, with mural painting and polychromed sculpture. Known as the Polyforum Siqueiros, the exterior consists of 12 panels of sculpture and painting while the walls and ceiling of the interior are covered with The March of Humanity on Earth and Toward the Cosmos. Completed in 1971 after years of extension and delay, the mural broke from some previous stylistic mandates, if only by its complex message. Known for making art that was easily read by the public, especially the lower classes, Siqueiros' message in The March is more difficult to decipher, though it seems to fuse two visions of human progress, one international and one based in Mexican heritage. The mural's placement at a ritzy hotel and commission by its millionaire owner also seems to challenge Siqueiros' anti-capitalist ideology.
David Alfaro Siqueiros