[1] The organizations involved were the NAACP and the Artists Union, the latter in conjunction with groups including the John Reed Club, the League of Struggle for Negro Rights, and the International Labor Defense.
[4] It was covered by the NAACP's magazine, The Crisis, which in particular observed the additional publicity that accrued because of a last minute change of venue, a mere four days before the exhibition was due to open.
[9] Politically the two organizations were rivals, and publicly at odds with each other;[10] the Artists' Union advocated legislation that held individuals in lynch mobs responsible, demanding the death penalty, while the Costigan-Wagner bill was aimed at officials who allowed the violence to take place.
[13] The five artists represented in both exhibitions were Harry Sternberg, Sam Becker, Aaron Goodelman, José Clemente Orozco, and Isamu Noguchi.
[16][17] Other artworks included Sternberg's Southern Holiday,[18] Paul Cadmus's To The Lynching!,[16] three of Curry's works (Manhunt, and The Fugitive in oil and as a lithograph),[19] Benton's A Lynching,[20] E. Simms Campbell's I Passed Along This Way in charcoal,[21]Louis Lozowick's Hold the Fort,[22] Hyman J. Warsager's The Law,[22] and two linocut prints by Hale Woodruff (Giddap!