Question: Who painted the "Man at the Crossroads" mural?
About the article "Man at the Crossroads", section "Destruction".

Candidate passages:
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. 
Post-revolutionary art in Mexico had its expression in the works of renowned artists such as Frida Kahlo, Diego Rivera, José Clemente Orozco, Rufino Tamayo, Federico Cantú Garza, David Alfaro Siqueiros and Juan O'Gorman.
Diego Rivera, the most well-known figure of Mexican muralism, painted the Man at the Crossroads at the Rockefeller Center in New York City, a huge mural that was destroyed the next year because of the inclusion of a portrait of Russian communist leader Lenin.
Some of Rivera's murals are displayed at the Mexican National Palace and the Palace of Fine Arts. 
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. 
The Coit Tower murals were done under the auspices of the Public Works of Art Project, the first of the New Deal federal employment programs for artists.
Ralph Stackpole and Bernard Zakheim successfully sought the commission in 1933, and supervised the muralists, who were mainly faculty and students of the California School of Fine Arts (CSFA), including Maxine Albro, Victor Arnautoff, Ray Bertrand, Rinaldo Cuneo, Mallette Harold Dean, Clifford Wight, Edith Hamlin, George Harris, Otis Oldfield, Suzanne Scheuer, Hebe Daum and Frede Vidar.
The artists were committed in varying degrees to racial equality and to leftist and Marxist political ideas strongly expressed in the paintings.
Bernard Zakheim's "Library" depicts fellow artist John Langley Howard crumpling a newspaper in his left hand as he reaches for a shelved copy of Karl Marx's "Das Kapital" with his right.
Workers of all races are shown as equals, often in the heroic poses of Socialist realism, while well-dressed racially white members of the capitalist classes enjoy the fruit of their labor.
Victor Arnautoff's "City Life" includes "The New Masses" and "The Daily Worker" periodicals in the scene's news stand rack; John Langley Howard's mural depicts an ethnically diverse Labor March as well as showing a destitute family panning for gold while a rich family observes; and Stackpole's "Industries of California" was composed along the same lines as an early study of the destroyed "Man at the Crossroads".
After Diego Rivera's "Man at the Crossroads" mural was destroyed by its Rockefeller Center patrons for the inclusion of an image of Lenin, the Coit Tower muralists protested, picketing the tower.
Sympathy for Rivera led some artists to incorporate references to the Rivera incident; in Zakheim's "Library" panel, Stackpole is painted reading a newspaper headline announcing the destruction of Rivera's mural.
Two of the murals are of San Francisco Bay scenes.
Most murals are done in fresco; the exceptions are one mural done in egg tempera (upstairs, in the last decorated room) and the works done in the elevator foyer, which are oil on canvas.
While most of the murals have been restored, a small segment (the spiral stairway exit to the observation platform) was not restored but durably painted over with epoxy surfacing.
Most of the murals are open for public viewing without charge during open hours, although there are ongoing negotiations by the Recreation and Parks Department of San Francisco to begin charging visitors a fee to enter the mural rotunda.
The murals in the spiral stairway, normally closed to the public, are open for viewing on Saturday mornings at 11:00 am with a free San Francisco City Guides tour.
Since 2004 artist Ben Wood has collaborated with other artists on large scale video projections onto the exterior of Coit Tower, in 2004, 2006, 2008 & 2009. 
Zakheim's best-known work is the mural "Library" in the Coit Tower, portraying men reading newspapers and books.
A fresco painted in 1934 as part of the larger Coit Tower mural project (which Zakheim also helped organize and oversee), the work reflects both Zakheim's own political orientation (fellow artist John Langley Howard reaches for a copy of Das Kapital) as well as specific news events happening at the time (one of the newspaper headlines says "Local Artists Protest Destruction of Rivera's Fresco", referring to the destruction of Diego Rivera's "Man at the Crossroads" the year before).
Because of this, the mural caused local controversy, with the San Francisco Examiner publishing a photo of the mural under a hammer and sickle (which was not part of Zakheim's design), leading to a temporary stoppage of work and locking of the building before the murals were eventually allowed to be seen by the public.
Zakheim also painted two large frescoes at the University of California, San Francisco, titled "The History of Medicine in California".
These received national attention, including a mention in Time magazine.
Considered controversial, these were papered over during the late 50s, and restored later by Zakheim's son.
Other works include a mural ("The Wedding Ceremony") at the San Francisco Jewish Community Center (photo, article about 2004 restoration), and a Holocaust memorial in Los Angeles (photo and additional information).
Contemporaries described his style as "bold, clean, and honest".
However, later commissions were allegedly rejected in part because of his left-leaning politics.