My stroll along North Avenue on Saturday gave me an opportunity to look more closely at murals I’d seen before, but only from the vantage of a moving bus window, which isn’t optimal. Murals have always been around – one I looked at is over 50 years old – but I can’t help feeling that now is pretty much a golden age of murals, at least as far as North American cities are concerned: commercial, polemic, vernacular, idiosyncratic, ghost, ars gratia artis and uncategorizable.

To start: not actually on North Avenue, but steps away, a new-looking advert on a wall under the Damen El station.

An eatery about as Chicago as can be, but I wonder. What are the odds the restaurant will outlast the mural? It’s a tough game, doubly so considering how many other joints  in the city offer dogs and burgers. Chicago’s a city of dogs and burgers, you could say.

Equally new, equally commercial, on the opposite wall (a detail).

Not a painted mural, but built-in concrete relief mural and adjacent art on North Ave., making a wholly nondescript brick building into something notable.

“Life-Tree” or “Arbol de Vida” (1989), according to writing on the wall. No random reference, that.

The building traded for $2.9 million in 2017, according to the now defunct DNAinfo Chicago, closed in a fit of anti-union pique (and whose workers later formed the nonprofit Block Club Chicago, which is still around).

The work was created “by artists John Pitman Weber and Catherine Cajandig,” the DNAinfo Chicago archive says. “They were helped by nine community-based youth artists, who contributed other works along the same wall.”

As pretty much all Chicago streets do, North Avenue also features works by those who don’t sign them, unless I’m missing their code (and I probably am). Such as this entire graffiti’d wooden fence.

Encouraging one and all to – bake?

There’s something vaguely unsettling about this rendition of a famous cartoon rodent. The more I look at it — an unholy melding of Mickey and Goofy?

A graffito, see the bottom, that encourages warm interpersonal relations.

As this mural seems to do as well.

Not a mural or graffiti, but advertising posters tell a story as well, such as the rise of Korean chicken in North America (and corn dogs, too).

And the persistence of tobacco, in spite of everything arrayed against its use.

I don’t think I’ll take up premium cigars, or any cigars, but I have to like an outfit whose web site quotes in large script: “If a man says he is not afraid of dying, he is either lying, or he is a Gurkha,” which is attributed to Indian Army Chief of Staff Field Marshal Sam Manekshaw (d. 2008).

Soon I came to North Avenue’s most intriguing mural, and certainly the most polemic of the ones I saw. One not to be appreciated from a bus, whose title I had to look up later: “La Crucifixion de Don Pedro” (1971). It’s a little hard to get an unobstructed view, unless you’re up close.

Left.

Center.

Right.

“ ‘La Crucifixion de Don Pedro’ was painted in 1971 by three community artists: Mario Galan, Jose Bermudez, Hector Rosario, and was commissioned by the Puerto Rican Arts Association,” notes Clio. “It is the oldest Puerto Rican mural in the city. The mural shows Don Pedro Albizu Campos being crucified between Lolita Lebron and Rafael Miranda. Campos was the Vice President [sic] of the Puerto Rican nationalist party, which fought for Puerto Rican Independence. Lebron and Miranda were also members of that party.”

The backdrop is a Puerto Rican revolutionary flag raised against the Spanish in the 19th century.

My sources don’t say who’s depicted as the figure stabbing Campos, paralleling the soldier stabbing Christ, but my guess would be Luis Muñoz Marín, first elected governor of Puerto Rico and generally considered the architect of the Estado Libre Asociado status of the island that the nationalists so bitterly opposed. Enough to organize violent uprisings in the 1950s, which landed Campos in prison most of the rest of his life. In the case of Lebron and Miranda, they wounded a number of Congressman by opening fire in the U.S. Capitol in the pre-metal detector days of 1954, which earned them about a quarter century each of hard time in the federal prison system.

Another polemic on North Avenue.

Not polemic.

Unless you count the comment about ICE that Homer wouldn’t be able to see, even if he weren’t sloshed.