The scores of drawings, prints and photographs featured in this ambitious and timely exhibition, which premiered at the Block Museum of Art at Northwestern University, testify to the radical politics that flourished in the U.S. during the Great Depression. The artists affiliated with the left-wing John Reed Clubs viewed art as a “social weapon,” believing that their work could foster justice and equality while fighting the entrenched interests of capital. Yet fissures and factions are also evident. What form should this “weapon” take: the Surrealistic lampooning of Fascist leaders by Mabel Dwight? Mitchell Siporian’s earnest depictions of working families? Stuart Davis’s abstraction? Such stylistic disputes, far from matters of detached aestheticism, reflected high-stakes political commitments.