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A number of Mexicans began to organize in opposition to Díaz policies that had welcomed foreign capital and capitalists, suppressed nascent labor unions, and consistently moved against peasants as agriculture flourished. In 1905, a group of Mexican intellectuals and agitators who had created the Mexican Liberal Party ( Partido Liberal de México ) drew up a radical program of reform, specifically addressing what they considered to be the worst aspects of the Díaz regime. Most prominent in the PLM were Ricardo Flores Magón and his two brothers, Enrique and Jesús . They, along with Luis Cabrera Lobato and Antonio Díaz Soto y Gama , were connected to the anti-Díaz publication El Hijo de Ahuizote . Political cartoons by José Guadalupe Posada lampooned politicians and cultural elites with mordant humor, portraying them as skeletons. The Liberal Party of Mexico founded the anti-Díaz anarchist newspaper Regeneración , which appeared in both Spanish and English. In exile in the United States, Práxedis Guerrero began publishing an anti-Díaz newspaper, Alba Roja , in San Francisco. Although leftist groups were small in number, through their publications they became highly influential and helped articulate reasons to oppose the Díaz regime. Francisco Bulnes described these men as the “true authors” of the Mexican Revolution for agitating the masses.  As the 1910 election approached, Francisco I. Madero, an idealistic political novice and member of one of Mexico’s richest families, funded the newspaper Anti-Reelectionista , in opposition to the continuous re-election of Díaz.
During her last years, Frida painted mostly still life but would politicize them by adding a flag, a peace dove, or inscriptions. One of her last self-portraits in 1954 entitled "Marxism Will Give Health to the Sick" was a strong political statement in support of the PCM. Following that painting she immortalized Stalin in "Self-Portrait with Stalin" , another painting with an obvious Communist theme. When Frida died in July of 1954, she left an unfinished portrait of Stalin on the easel in her studio a testament to the fact that, when she was able, she wanted to paint to " serve the party " and " benefit the Revolution ".
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