Kent’s earlier work in the New Masses also concerned current events, and in his work for the November 1927 issue, he provided a woodcut titled “August XXIII, MCMXXVII,” that accompanies an article by John Dos Passos. He writes of Sacco and Vanzetti, who were two Italian-American immigrants and radicals convicted of robbery and murder and later executed. Just seven years earlier in 1920, a paymaster for a shoe factory and a guard were shot and killed in Massachusetts. Nicola Sacco, a shoemaker, and Bartolomeo Vanzetti, a fish peddler were arrested, convicted, and found guilty. The trial and decision generated public discourse because they believed they were unjustly executed as a result of their immigrant status and radical beliefs. Kent’s chosen title “August XXIII, MCMXXVII,” refers to the date, August 23, 1927, the date of their execution. In the article, Dos Passos details their unjust executions as anarchists and anti-capitalists, which is also reflected in Kent’s artwork. Kent’s macabre image captures three heads on a sphere, two of which are Sacco and Vanzetti illuminated by an aura of light. He also chooses to include three crosses on a hill which resemble that of the crucifixion, suggesting that Sacco and Vanzetti are martyrs. Kent’s own left-leaning and labor-positive politics are reflected in this piece as he evocatively calls attention to the decision by putting Sacco and Vanzetti’s heads on the pike as a commentary on their public shaming as well as the militant and unjust judicial system. Passos’ article ends also with a commentary on liberals, criticizing their idleness in the face of injustice, which is a common theme depicted in both Kent’s work and the New Masses. Kent’s later work in the New Masses was not limited to art but often included his personal written perspectives. Nearly a decade later in the August 1938 issue, both his self-portrait on the cover and op-ed titled “Artists: Unite” were featured in the issue. His self-portrait drawing captures a man in deep, striking gaze eerily peering into the eyes of its readers. As it stares in the reader’s eyes, he also provides complementary text that aligns with his and the New Masses’ politics. As President of United American Artists, a union for artists and creatives, he appeals to the New Masses readership to join support for workers and artists of the world. Under Kent’s leadership, it worked alongside other unions to negotiate good conditions for artists and act in the common interest of the artists and workers. Using the same language he employs to title his earlier woodcut, Workers of the World, Unite! he calls upon workers to learn, organize, and unite to be an agent of change and positivity. He acknowledges the labor movement as a “[protector] of the workers against the growing oppression of the capitalist system,” (9) and its continued mission to defend their rights and promote democracy. The feature of both his self portrait and article on the cover and position as President of United American Artists are indicative of his prominence as an artist and the importance of his political perspectives. In a time when political unrest and economic instability prevailed, Kent and New Masses aimed to unite the people to understand the changing world and call for action.