The theme of workers’ equality extends not only horizontally among the workers, regardless of race. It also moves vertically. It is striking that in the two great industrial scenes on the North and South Panels, there are very few depictions of factory foremen or other representatives of corporate management or white collar work, though there are some. One example of a supervisory presence comes on the left side of the main scene on South Wall. But this figure, wearing a suite and tie, a hat and glasses, stands among the crowd. Nobody pays him much attention. In other scene on the South Wall an accountant works among female laborers. One gets the impression that the same work would be occurring with or without these members of management in attendance—of course, workers without management, or perhaps management as another (and equal) form of work, is the communist ideal.
In sum, with Detroit Industry Rivera presents a heroic worker in what approaches a utopia of industrial efficiency. Through the synergy of man and machine, raw material is transformed into the modern marvel of the automobile—and this one is powered by the strongest engine on the market, the Ford V8. The workers are strong, healthy. The workforce is harmonious, despite the racial diversity. Relations between workers and management are peaceful. The beauty of this stagecraft is emphasized on the South Wall by an audience of the public looking on at the finished cars rolling off the line.