Question: In Man at the Crossroads, who is depicted holding hands with a multi-racial group of workers?
About the article "Man at the Crossroads", section "Work".

Candidate passages:
Rivera's composition depicted many aspects of contemporary social and scientific culture.
In the center, a workman was depicted controlling machinery.
Before him, a giant fist emerged holding an orb depicting the recombination of atoms and dividing cells in acts of chemical and biological generation.
From the central figure four propeller-like shapes stretched to the corner of the composition, depicting arcs of light created by giant lenses anchoring the left and right edges of the space.
Rivera described these as "elongated ellipses".
Within these, cosmological and biological forces such as exploding suns and cell-forms were depicted.
These represented the discoveries made possible by the telescope and the microscope.
Between and beyond the arcs were scenes of modern social life.
Wealthy society women are seen playing cards and smoking at the left.
Opposite, on the right, Lenin is seen holding hands with a multi-racial group of workers.
Soldiers and war machinery occupied the top left above the society women, and a Russian May Day rally with red flags was seen at the right, above Lenin.
For Rivera, this represented contrasting social visions: the "debauched rich" watched by the unemployed while war rages; and a socialist utopia ushered in by Lenin.
Beyond the giant lenses to left and right were depicted figures contemplating the central scene, behind which were gigantic classical statues.
The one on the left depicted an angry Jupiter, whose raised hand holding a thunderbolt has been stuck off by a lightening strike.
The one on the right was a headless seated Caesar.
For Rivera these represented the replacement of superstition by scientific mastery of nature, and the overthrow of authoritarian rule by liberated workers.
The bottom part of the painting was to depict the controlled growth of natural resources, in the form of a variety of plants emerging from their roots, visible in a cut-away view under the soil.
However, this section was never completed.
It exists only in the later recreation of the composition in Mexico.
Surya is sometimes depicted with two hands holding a lotus in each hand. 
Varahi's iconography is described in the "Matsya Purana" and agamas like the "Purva-karnagama" and the "Rupamandana".
The Tantric text "Varahi Tantra" mentions that Varahi has five forms of Varahi: Svapna Varahi, Canda Varahi, Mahi Varahi (Bhairavi), Krcca Varahi, and Matsya Varahi.
The Matrikas, as shaktis of gods, are described to resemble those gods in form, jewellery, and mount, but Varahi inherits only the boar-face of Varaha.
Varahi is usually depicted with her characteristic sow face on a human body with a black complexion comparable to a storm cloud.
The scholar Donaldson informs us that the association of a sow and a woman is seen derogatory for the latter, but the association is also used in curses to protect "land from invaders, new rulers, and trespassers".
Rarely, she is described as holding the Earth on her tusks, similar to Varaha.
She wears the "", a conical basket-shaped crown.
Varahi can be depicted as standing, seated, or dancing.
Varahi is often depicted pot-bellied and with full breasts, while most all other Matrikas – except Chamunda – are depicted as slender and beautiful.
One belief suggests that since Varahi is identified with the Yoganidra of Vishnu, who holds the universe in her womb ("Bhugarbha Paranmesvari Jagaddhatri"), that she should be shown as pot-bellied.
Another theory suggests that the pot-belly reflects a "maternal aspect", which Donaldson describes as "curious" because Varahi and Chamunda "best exemplify" the terrible aspect of the Divine Mother.
A notable exception is the depiction of Varahi as human-faced and slender at the sixth-century Rameshvara cave (Cave 21), the Ellora Caves.
She is depicted here as part of the group of seven Matrikas.
A third eye and/or a crescent moon is described to be on her forehead.
Varahi may be two, four, or six-armed.
The "Matsya Purana", the "Purva-karnagama", and the "Rupamandana" mention a four-armed form.
The "Rupamandana" says she carries a ghanta (bell), a chamara (a yak's tail), a chakra (discus), and a gada (mace).
The "Matsya Purana" omits the ghanta and does not mention the fourth weapon.
The "Purva-Karanagama" mentions that she holds the Sharanga (the bow of Vishnu), the "hala" (plough), and the "musula" (pestle).
The fourth hand is held in the Abhaya ("protection gesture") or the Varada Mudra ("blessing gesture").
The "Devi Purana" mentions her attributes as being sword, iron club, and noose.
Another description says her hair is adorned with a garland with red flowers.
She holds a staff and drinking skull-cup (kapala).
The "Varahini-nigrahastaka-stotra" describes her attributes as a plough, a pestle, a skull-cup, and the abhaya mudra.
The "Vamana Purana" describes her seated on Shesha while holding a chakra and a mace.
The "Agni Purana" describes her holding the gada, shankha, sword, and ankusha (goad).
The "Mantramahodadhi" mentions she carries a sword, shield, noose, and goad.
In Vaishnava images, since she is associated with Vishnu, Varahi may be depicted holding all four attributes of Vishnu — Shankha (conch), chakra, Gada, and Padma (lotus).
The "Aparajitapriccha" describes her holding a rosary, a khatvanga (a club with a skull), a bell, and a kamandalu (water-pot).
The "Vishnudharmottara Purana" describes a six-armed Varahi, holding a danda (staff of punishment), khetaka (shield), khadga (sword), and pasha (noose) in four hands and the two remaining hands being held in Abhaya and Varada Mudra ("blessing gesture").
She also holds a "shakti" and "hala" (plough).
Such a Varahi sculpture is found at Abanesi, depicted with the dancing Shiva.
She may also be depicted holding a child sitting on her lap, like Matrikas are often depicted.
Matsya Varahi is depicted as two-armed, with spiral-coiled hair and holding a fish ("matsya") and a kapala.
The fish and wine-cup kapala are special characteristics of Tantric Shakta images of Varahi, the fish being exclusive to Tantric descriptions.
The vahana (vehicle) of Varahi is usually described as a buffalo ("Mahisha").
In Vaishnava and Shakta images, she is depicted as either standing or seated on a lotus pitha (pedestral) or on her vahana (a buffalo) or on its head, or on a boar, the serpent Shesha, a lion, or on Garuda (the eagle-man vahana of Vishnu).
In Tantric Shakta images, the vahana may be specifically a she-buffalo or a corpse ("pretasana").
An elephant may be depicted as her vahana.
The goddess is also described as riding on her horse, Jambini.
Garuda may be depicted as her attendant.
She may also be depicted seated under a "kalpaka" tree.
When depicted as part of the Sapta-Matrika group ("seven mothers"), Varahi is always in the fifth position in the row of Matrikas, and thus is called Panchami ("fifth").
The goddesses are flanked by Virabhadra (Shiva's fierce form) and Ganesha (Shiva's elephant-headed son and wisdom god). 
The music video for "Better" premiered on 14 October 2008.
The entire video was shot in black and white, with each member of the group singing to a woman he is holding - with the exception of Stephen Gately, who is shown singing to a man - the first time a Boyzone video has depicted a same-sex love interest.
The video marks the last appearance for Gately in a Boyzone video, due to his death in October 2009. 
Nara-Narayana are depicted jointly or separately in images.
When depicted separately, Nara is portrayed with two hands and wearing deer skin while Narayana is shown on the right in the usual form of Vishnu.
Sometimes, both of them are depicted identical to each other.
They are depicted four-armed holding a mace, a discus, a conch and a lotus, resembling Vishnu.