Question: Where can I find a display of Diego Rivera's murals?
About the article "Diego Rivera", section "Career in Mexico".

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The Making of a Fresco Showing the Building of a City (1931) is one of four murals in the Bay Area painted by Mexican artist Diego Rivera (1886–1957).
Rivera's mural seems to be painted for and about a working class audience. 
Lucienne Bloch (January 5, 1909 – March 13, 1999) was a Switzerland-born American artist.
She was best known for her murals and for her association with the Mexican artist Diego Rivera, for whom she produced the only existing photographs of Rivera's mural "Man at the Crossroads", painted in 1933 and destroyed in January 1934 at Rockefeller Center in New York City. 
 ""The Abundant Earth"", The National Agricultural School, Chapingo, 1926 In 1926 Diego Rivera's wife Lupe Marín asserted that her separation from her husband was caused by his affair with Modotti, a byproduct of Modotti's nude modeling for him for the murals as ""the Abundant Earth"" at the National Agricultural School in Chapingo, near Texcoco [1926-27].
Their affair lasted for about a year and he painted her five times in the Chapingo murals, including as ""The Earth Enslaved"", ""Germination"", and ""Virgin Earth"" ""In the Arsenal"", Secretaría de Educación Pública Building, Mexico City, 1928 This painting was part of the break between Modotti and Rivera caused by his expulsion from the Communist Party.
The mural depicts Modotti passing out ammunition, perhaps for the revolution of Augusto Sandino in Nicaragua, perhaps for the "invasion" of Cuba that Mella was planning at that time hoping to overthrow the regime of General Gerardo Machado, or perhaps just in support of insurrection against injustice everywhere.
She is shown gazing at her then lover Mella while Vidali peers over her shoulder.
Modotti objected to Rivera’s use of her private life in such a public manner.
She wrote to Weston, "Recently Diego has taken to painting details with an exaggerated precision.
He leaves nothing to the imagination."
The central figure in this painting is Rivera's then lover, the artist Frida Kahlo.
Kahlo, who had first met Rivera as a school girl in 1922 when he was painting his first mural The Creation in the Bolívar Auditorium of the National Preparatory School in Mexico City, is reputed to have been reintroduced to Rivera in 1928 at a party in Modotti's home, although there are other versions of the tale of their meeting.
Modotti hosted Kahlo and Rivera's wedding party on 21 August 1929.
The final rift between Modotti on the one hand and Rivera and Kahlo on the other, less than a month later appears to have been political rather than personal.
Modotti supported Rivera's expulsion from the Communist party.
Modotti's internationalism and her belief that this was best advanced by adherence to the line of the Communist Party of Mexico and the Communist International were deeply held.
Later, she explained her decision to abandon photography for political work following her expulsion from Mexico thus (inverting an outlook stated to her years earlier by Edward Weston): "I cannot solve the problem of life by losing myself in the problem of art".
Rivera's expulsion however started him on a trajectory which was to lead to his later association with Leon Trotsky and the Fourth International.  
Fire and Blood for solo violin and Orchestra by composer Michael Daugherty is a 25 minute concerto inspired by Diego Rivera's Detroit Industry Murals and Frida Kahlo's paintings while in Detroit.
It was commissioned by the Detroit Symphony Orchestra during Michael Daugherty's time as composer in residence (1999-2003). 
The murals are on public display at the governor’s palace.
Unlike traditional murals that are pained directly onto the wall, Castro Pacheco’s murals are unique, “transportable murals.” Because the murals were not “produced and conceived on the walls, in relation to the architecture” his murals cannot be considered part of the traditional “Mexican Renaissance” of which muralist such as Diego Rivera and Jesus Guerrero Galvan are a part.
Because they are painted on large canvas and from a unique perspective, the murals appear as large format paintings, Castro Pacheco does not rely upon “exaggerated foreshortening and perspectives” in these works the images are merely of large proportion.