Signed, east wall (Panel 11): J. C. Orozco / Febrero 13, 1934
Public Art, Reserve Corridor, Baker-Berry Library, Dartmouth College, Hanover, New Hampshire, 1934.
Anthony W. Lee, Painting on the Left: Diego Rivera, radical politics, and San Francisco's public murals, Berkeley: University of California Press, 1999, ill. p 178, fig. 6.8
Western American Literature, Quarterly Journal of the Western Literature Association, Summer 1998, Logan: Western American Literature and Utah University, 1998, ill. cover
series Mexican Art Abroad, Mexico: Grupo Azabache, September 1994.
Video series "Myths of Mankind", The Netherlands: Netherlands Public Television (AVRO), 1997.
Frederick Hartt, Art: A History of Painting, Sculpture, Architecture (with contributions by Nan Rosenthal), 4th edition, New York: Harry N. Abrams, Inc., 1993, pp. 1011-1012, ill. p. 1011
Orozco's Masterpiece, Dartmouth Alumni Magazine, Special Issue, Dartmouth's Gifts to the World, April 1994, Hanover, N.H.: Dartmouth College, 1994, ill. p. 44
Desmond Rochfort, Mexican Muralists: Orozco, Rivera, Siqueiros, Singapore: Laurence King Publishing, 1993, pp.99-119, ill. p. 104
Master Works of Mexican Art in the World, Mexican Ministry of Foreign Affairs, Institute Matias Romero for Diplomatic Studies, 1993
Gary H. Gossen, editor, South And Meso-American Native Spirituality: From the Cult of the Feathered Serpent to the Theology of Liberation; World Spirituality: An Encyclopedic History of the Religious Quest,Volume 4, New York: The Crossroad Publishing Company, 1993, ill. p. 7
Carlos Fuentes, The Buried Mirror: Reflections on Spain and the New World, Boston, New York, London: Houghton Mifflin Company, 1992, ill. p. 314.
The Art of Latin America, California: Pomegranate Publications, 1991, 15 X 13 inch color reproduction in print portfolio comprised of eight works by Latin American artists.
The Art of Latin America, California: Pomegranate Publications, 1991, calendar for 1992
C. L. R. James, Mariners, Renegades & Castaways: The Story of Herman Melville and the World We Live In, Hanover: University Press of New England, 2001, ill. cover.
Editorial Clio, Orozco segun Orozco, (Video-in Spanish), Delagacion Coyoacan, Mexico: Editorial Clio, 1998, approx. 43 minutes.
Jacquelynn Baas, Orozco: Violent Visions in a Silent Space, Berkeley Review of Latin American Studies, Spring 2008: University of California, Berkeley: Berkeley Center for Latin American Studies, 73 pp., ill. p. 36-37.
Jose Clemente Orozco: Pintura y verdad, Jalisco, Mexico: Instituto Cultural Cabanas, 2010, pp.166-181, ill. p.172.
Mary K. Coffey, Sharon Lorenzo, Lisa Mintz Messinger, Stephen Polcari, Men of Fire, Jose Clemente Orozco and Jackson Pollock, Hanover: Trustees of Dartmouth College, 2012, ill. p.53; p. 25, fig.47.
Michael R. Taylor and Gerald Auten, In Residence: Contemporary Artists at Dartmouth, Hanover, New Hampshire: Trustees of Dartmouth College, 2013, ill. p. 2, fig. 2
Elizabeth L. Langhorne, Jackson Pollock: Kunst als Sinnsuche: Abstraktion, All-Over, Action Painting, Wallerstein: Hawel-Verlag, 2013, 468 pp., ill. p. 40.
Barbara Haskell, Vida Americana, Mexican Muralist Remake American Art, 1925-1945, New York: Whitney Museum of American Art, 2020, ill. pp. 176-177, fig. 5.
Warren Carter, ed., Art after Empire: From Colonialism to Globalisation, Manchester: Manchester University Press in association with the Open University, 2018, pp. 84-89, ill. p. 86, fig. 2.23
Commissioned by the Trustees of Dartmouth College, Hanover, New Hampshire, 1932.