Question: When was an article published in the New York World-Telegram that attacked the Man at the Crossroads mural for being anti-capitalist?
About the article "Man at the Crossroads", section "Destruction".

Candidate passages:
On 24 April 1933 the "New York World-Telegram" newspaper published an article attacking the mural as anti-capitalist propaganda.
A few days later Rivera added the portrait of Lenin to the work.
This precipitated a major controversy by May.
The bad publicity greatly upset Rockefeller.
Rivera was asked to remove the picture of Lenin, but refused, instead offering to add Abraham Lincoln to the work as way of a compromise.
Rockefeller then left the decision about the future of the mural to Todd-Robertson-Todd.
Rivera was fully paid the promised amount for his work, but the mural was covered in drapery and left incomplete.
Despite protests from art lovers and attempts to get it to moved to the Museum of Modern Art, it remained covered until the early weeks of 1934, when it was destroyed by workmen.
The destruction caused widespread controversy.
Ralph Stackpole and Bernard Zakheim (who headed a group of artists commissioned by the WPA to paint murals at the Coit Tower in San Francisco) protested, and also included references to the incident in the form of headlines in newspapers held by figures in their paintings.
The Rockefeller Center commissioned a mural by Jose Maria Sert entitled "American Progress" to replace Rivera's work.
It used Abraham Lincoln as its focal point.
Born in Brooklyn, New York, in 1912, Lewis was orphaned at five and raised by an older sister and her husband.
At eleven, he published his first article, a book report that appeared in the now-defunct "New York World Telegram".  
In the autumn of 1927, Rivera arrived in Moscow, accepting an invitation to take part in the celebration of the 10th anniversary of the October Revolution.
The following year, while still in Russia, he met the visiting Alfred H. Barr, Jr., who would soon become Rivera's friend and patron, as well as the founding director of the Museum of Modern Art.
Rivera was commissioned to paint a mural for the Red Army Club in Moscow, but in 1928 he was ordered out by the authorities because of involvement in anti-Soviet politics, and he returned to Mexico.
In 1929, Rivera was expelled from the Mexican Communist Party.
His 1928 mural "In the Arsenal" was interpreted by some as evidence of Rivera's prior knowledge of the murder of Julio Antonio Mella allegedly by Stalinist assassin Vittorio Vidali.
After divorcing Guadalupe (Lupe) Marin, Rivera married Frida Kahlo in August 1929.
Also in 1929, the first English-language book on Rivera, American journalist Ernestine Evans's "The Frescoes of Diego Rivera", was published in New York.
In December, Rivera accepted a commission to paint murals in the Palace of Cortés in Cuernavaca from the American Ambassador to Mexico.
In September 1930, Rivera accepted an invitation from architect Timothy L. Pflueger to paint for him in San Francisco.
After arriving in November accompanied by Kahlo, Rivera painted a mural for the City Club of the San Francisco Stock Exchange for US$2,500 and a fresco for the California School of Fine Art, later relocated to what is now the Diego Rivera Gallery at the San Francisco Art Institute.
Kahlo and Rivera worked and lived at the studio of Ralph Stackpole, who had suggested Rivera to Pflueger.
Rivera met Helen Wills Moody, a famous tennis player, who modeled for his City Club mural.
In November 1931, Rivera had a retrospective exhibition at the Museum of Modern Art in New York City; Kahlo was present.
Between 1932 and 1933, he completed a famous series of twenty-seven fresco panels entitled "Detroit Industry" on the walls of an inner court at the Detroit Institute of Arts.
During the McCarthyism of the 1950s, a was placed in the courtyard defending the artistic merit of the murals while attacking his politics as "detestable.
"His mural "Man at the Crossroads", begun in 1933 for the Rockefeller Center in New York City, was removed after a furor erupted in the press over a portrait of Vladimir Lenin it contained.
When Diego refused to remove Lenin from the painting, Diego was ordered to leave.
One of Diego's assistants managed to take a few pictures of the work so Diego was able to later recreate it.
The American poet Archibald MacLeish wrote six "irony-laden" poems about the mural.
"The New Yorker" magazine published E. B.
White's poem "I paint what I see: A ballad of artistic integrity".
As a result of the negative publicity, a further commission was canceled to paint a mural for an exhibition at the Chicago World's Fair.
Rivera issued a statement that with the money left over from the commission of the mural at Rockefeller Center (he was paid in full though the mural was supposedly destroyed.
Rumors have floated that the mural was actually covered over rather than brought down and destroyed.
), he would repaint the same mural over and over wherever he was asked until the money ran out.
In December 1933, Rivera returned to Mexico, and he repainted "Man at the Crossroads" in 1934 in the Palacio de Bellas Artes in Mexico City.
This surviving version was called "Man, Controller of the Universe".
On June 5, 1940, invited again by Pflueger, Rivera returned for the last time to the United States to paint a ten-panel mural for the Golden Gate International Exposition in San Francisco.
"Pan American Unity" was completed November 29, 1940.
As he was painting, Rivera was on display in front of Exposition attendees.
He received US$1,000 per month and US$1,000 for travel expenses.
The mural includes representations of two of Pflueger's architectural works as well as portraits of Kahlo, woodcarver Dudley C. Carter, and actress Paulette Goddard, who is depicted holding Rivera's hand as they plant a white tree together.
Rivera's assistants on the mural included the pioneer African-American artist, dancer, and textile designer Thelma Johnson Streat.
The mural and its archives reside at City College of San Francisco. 
Man at the Crossroads was a fresco by Diego Rivera in the Rockefeller Center, New York.
The painting was controversial because it included an image of Lenin and a Soviet Russian May Day parade.
Despite protests from artists, Nelson Rockefeller ordered its destruction before it was completed.
Only black-and-white photographs exist of the original incomplete mural, taken when Rivera was forced to stop work on it.
Using the photographs, Rivera repainted the composition in Mexico under the variant title "Man, Controller of the Universe".
The creation and destruction of the mural is dramatized in the films "Cradle Will Rock" (1999) and "Frida" (2002). 
"The New York Evening Telegram" is a defunct New York City daily newspaper.
It was established in 1867.
The newspaper was published by James Gordon Bennett, Jr., and it was said to be considered to be an evening edition of the "New York Herald".
Frank Munsey acquired the Telegram in 1920, which ceased its connection to the Herald.
It merged into the "New York Evening Mail" in 1924.
Eventually, it was merged into the "New York World-Telegram".