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

Candidate passages:
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). 
González Camarena began his career working as an assistant to Dr. Atl, coloring the images of church in the book Las iglesias de México.
Dr. Atl became one of González Camarena’s mentors until his death.
After he finished with school, González Camarena first became noted for his work in publicity.
In 1929, at age 21, he worked writing and drawing for publications such as Revista de Revistas and Nuestro México.
He also worked into the 1930s creating images for calendar for the Editorial Casa Galas, along with calendars for Cemento Cruz Azul.
In 1933, painter Jorge Enciso, then director of the Dirección de Monumentos Coloniales, commissioned him to restore the 16th-century frescos on the walls of the former monastery of Huejotzingo, Puebla.
The project took two years and the project made him sensitive to the area’s indigenous people and Mesoamerican art.
He used some of the money he earned from the project to research indigenous painters, especially Marcos Cipactli, identifying him not only as one of the contributors to the original Huejotzingo work but also as the painter of the original image of the Virgin of Guadalupe.
The latter assertion caused him some controversy.
He also did a study on the presence of demon and devil images in Mexican art and folklore.
González Camarena began creating mural works in 1939, with twenty six of the works still remaining.
The first was created in the town of Zimapan, Hidalgo at the Hotel Fundación called Alegoría de Zimapán.
At the time, the town was a crossroads for traffic between Tamaulipas and Nuevo León, but a new highway changed that later.
The hotel was abandoned but the mural remains in good condition.
His second mural was a pair of oil an wax panels on stone for the Guardiola Building in 1941 called La vida, la mujer y el hombre (Live, woman and man), commissioned by friend and colleague Carlos Obregón Santacilia.
The work was controversial because the images of the man and woman were nudes, considered immoral by the bankers that sponsored the work.
As a response, González Camarena founded the first Mexican Nudist Society to promote the use of nudes in artwork.
The work remained on the building until 1957, when the earthquake of that year caused damage to the piece, and instead of being rescued, it was demolished.
In response, muralists from Mexico and other countries founded the Commission of Mural Painting of INBA to protect murals and other art under censorship threat.
INBA also proposed that González Camarena replace the work with a mural at the Palacio de Bellas Artes.
This resulted in a mural called Liberación de la humanidad, finished in 1963.
Other of González Camarena’s early murals include Águila en Vuelo for the Banco de México building in Veracruz and the La Purísma Church.
In 1950 and 1951 he created murals and sculptures for the Instituto Mexicano de Seguro Social building on Paseo de la Reforma in Mexico City.
The mural is done in vinylite, and is accompanied by two groups of sculptures called El Trabajo and Maternidad.
He worked on this project with architect Obregón Santacila, with whom he also founded a movement called Artistic Integration, with the aim of strengthening ties between builders and artists on architectural projects.
In 1954, the founder of the Monterrey Institute of Technology and Higher Studies, Eugenio Garza Sada, commissioned González Camarena to create a mural for what is now the main administration building for the university system.
The project consisted of applying Italian mosaic on a relief.
This project had him spent much time in Monterrey, and become involved in the artist community there, leading to the creation of the Arte, A.C. cultural group.
This mural remains today as a symbol of the institution, even reproduced on class rings.
In 1959 Emilio Azcárraga Vidaurreta commissioned him to decorate the facade of Televicentro, today Televisa, resulting in a 900m² mural called Frisos de la television.
This outside wall was later damaged, requiring the building to be remodeled.
In 1965, he was commissioned by the Mexican government to create a mural for the city of Concepción, Chile, even though the project was threatened by a boycott by artists affiliated with the Generación de la Ruptura.
The resulting mural was a gift to the people of that region in southern Chile who had suffered a major earthquake in 1960.
The resulting work was 300m² on a wall of the Casa de la Cultura José Clemente Orozco at the Universidad de Concepción.
For the university’s 75th anniversary, the image was reproduced on a Chilean stamp and in 1996, it was named the most beautiful mural in the world at an event in Vienna .
The work was damaged during another earthquake, this time in 2010, but restored in 2012 in a joint Mexican-Chilean effort.
Other notable murals during González Camarena’s career include La erupción de Xitle (an oil/wax work) at the Cuicuilco site.
Monumento a la Independencia in Dolores Hidalgo, Belisario Dominguez at the Mexican Senate and Las Razas at the Museo Nacional de Antropología e Historia, which was used on a Mexican stamp in 1992 to commemorate the 500th anniversary of Columbus´s arrival to the Americas.
His last mural was created in 1978, two years before his death and called Trilogía de Saltillo, in the municipal building of Saltillo, Coahuila.
While best known for his mural work, González Camarena also produced over 2,000 easel work and some sculpture.
His best known work of this type is La Patria, an image of a woman with national symbols to represent the country of Mexico.
It is well known because from the 1960s into the 1970s, this image was used on the cover of free textbooks produced by the Secretaría de Educación Pública.
These include over 350 titles totaling over 523 million copies.
The image has reappeared sporadically on books produced by the government entity since.
At the end of the 1970s, the Mexican government commissioned him to create a painting for the Bulgarian people of Saint George.
He was invited to Bulgaria to unveil the painting.
In appreciation, the Bulgarian government sponsored a European tour of Gonzalez Camarena’s work which ended up in the Museo de Arte Moderno in New York.
Most of his easel work is in the hands of private collectors in both Mexico and abroad.
These include the Museo Soumaya, the collection of the Carso Foundation, the collection of José López Portillo and the estate of Henry Ford.
Some are in the Museo de Arte Moderno.
Very little of the artist’s work are in the family as the rest were sold.
By the 1940s, González Camarena’s work began to draw serious attention from art critics and win awards.
In 1966 the Palacio de Bellas Artes organized and anthological exhibition in his honor.
In 1967, he received the Order of Merit, grade Commendatore from the Italian government for a portrait of Michelangelo he created for the Italian artist’s house in Caprese.
He received the Premio Nacaional de Artes in 1970 and in 1972 was accepted as a member of the Academia de Artes.
He was also a member of the Asociación Mexicana de Artes Plásticas and the Salón de la Plástica Mexicana.
For the 100th anniversary of his birth in 2008, institutions such as the Museo Soumaya, the Instituto Politécnical Nacional, the Mexican Senate and the Instituto Mexicano de Seguro Social held exhibitions and homage to his work and life. 
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. 
The Rockefellers wanted to have a mural put on the ground-floor wall of Rockefeller Center.
Nelson Rockefeller wanted Henri Matisse or Pablo Picasso to do it because he favored their modern style, but neither was available.
Diego Rivera was one of Nelson Rockefeller's mother's favorite artists and therefore was commissioned to create the huge mural.
He was given a theme: "Man at the Crossroads Looking with Hope and High Vision to the Choosing of a New and Better Future."
Rockefeller wanted the painting to make people pause and think.
Rivera was to be paid $21,000 for the work.
He was officially commissioned by Todd-Robertson-Todd Engineering, the development agents for the building.
The full commission envisaged three murals.
"Man at the Crossroads" would be in the center.
It would be flanked by "The Frontier of Ethical Evolution" and "The Frontier of Material Development".
The central composition was intended to contrast Capitalism and Socialism.
This basic compositional idea was approved by Rockefeller. 
Best-known public murals are in the Hôtel de Ville in Paris, the Cathedral of Vic in Catalonia, the League of Nations in Geneva and, in New York, at the Waldorf-Astoria and 30 Rockefeller Center, the GE Center.
There, his “American Progress” replaced Diego Rivera’s mural Man at the Crossroads, which Nelson Rockefeller destroyed because it included an image of Lenin.
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