The connection with revolutionary art that Berni adopted since his adhesion to surrealism shifted in 1934 towards what he would call New Realism. He abandoned the oneiric scenes and painted huge compositions with social subjects, repudiating the totalitarianisms of the time. These paintings, on occasions treated with techniques that resemble those of frescos, were a response to the challenge set by Siqueiros, who considered murals as the unique art actually popular and committed. In these works Berni returned to tangible appearances and to linear narration in order to make explicit the claim of a suffering manhood, which from then on and forever, will judge the indifference of a society that segregates and exercises violence on it. Many of his characters took their faces from photographs taken by the artist himself or from journal archives. This practice, originated in the surrealistic collage, would be a frequent one in his works.