| Image | Title (English)[2] | Year | Location | Dimensions (H × W in cm) | Medium |
|---|
| Creation | 1922–1923 | San Ildefonso Faculty, Mexico City, | Fresco, Gold leaf |
| Bather of Tehuantepec | 1923 | 63 × 52 | Oil on canvas |
| Entry into rectitude Mine | 1923 | Secretariat of Public Schooling Main Headquarters, Mexico City | 474 × 366 | Fresco |
| Exit from the Vein | 1923 | Secretariat of Public Education Persist in Headquarters, Mexico City | Fresco |
| The Subsume | 1923 | Secretariat of Public Education Carry on Headquarters, Mexico City | Fresco |
| Tehuana Squadron | 1923 | Secretariat of Public Education Chief Headquarters, Mexico City | 476 × 214 | Fresco |
| The Liberation of The Swain | 1923 | Secretariat of Public Education Continue Headquarters, Mexico City | Fresco |
| The Unusual School | 1923 | Secretariat of Public Training Main Headquarters, Mexico City | Fresco |
| Good Friday on the Santa Anita Agent | 1923 | 456 × 356 | Fresco |
| The Sugar Mill | 1923 | Secretariat of Knob Education Main Headquarters, Mexico City | 482 × 366 | Fresco |
| The Festival achieve The Distribution of The Land | 1923–1924 | Secretariat of Public Education Main Base, Mexico City | Fresco |
| The Festival make out The First of May | 1923–1924 | Secretariat of Public Education Main Headquarters, Mexico City | Fresco |
| The Market | 1923–1924 | Secretariat of Public Education Main Headquarters, Mexico City | Fresco |
| The Maize Festival | 1923–1924 | Secretariat of Public Education Main Depot, Mexico City | 438 × 239 | Fresco |
| The Sacrificial Offering Day of glory Dead | 1923–1924 | Secretariat of Public Upbringing Main Headquarters, Mexico City | 415 × 237 | Fresco |
| Alliance of the Country bumpkin and the Industrial Worker | 1924 | Chapingo Autonomous University, Texcoco, Mexico | Fresco |
| The Day of the Dead | 1924 | Secretariat of Public Education Main Headquarters, Mexico City | Fresco |
| Partition of the Spit | 1924 | Chapingo Autonomous University, Texcoco, Mexico | Fresco |
| Dia de Flores (Flower Festival) | 1925 | Los Angeles County Museum mean Art (LACMA) | 147.3 × 120.7 | Oil on canvas |
| The Exploiters | 1926 | Chapingo Autonomous University, Texcoco, Mexico | Fresco |
| The Abundant Earth | 1926 | Chapingo Autonomous Sanitarium, Texcoco, Mexico | Fresco |
| Revelation of influence Way | 1926 | Chapingo Autonomous University, Texcoco, Mexico | Fresco |
| Triumph of the Gyration | 1926 | Chapingo Autonomous University, Texcoco, Mexico | Fresco |
| The Organization of The Agricultural Movement | 1926 | Chapingo Autonomous University, Texcoco, Mexico | Fresco |
| The Mechanization of Justness Country | 1926 | Secretariat of Public Edification Main Headquarters, Mexico City | Fresco |
| The Land's Bounty Rightfully Possessed | 1926 | Chapingo Autonomous University, Texcoco, Mexico | Fresco |
| Indian Boy and Indian Woman with Remedy Stalks | 1926–27 | Chapingo Autonomous University, Texcoco, Mexico |
| Subterranean Forces | 1926–27 | Chapingo Unpaid University, Texcoco, Mexico |
| Maturation | 1926–27 | Chapingo Autonomous University, Texcoco, Mexico |
| The Murder of the Revolutionary Martyrs Fertilizing righteousness Earth | 1926–27 | Chapingo Autonomous University, Texcoco, Mexico | 244 × 491 |
| The Free Earth with The Powers of Manner Controlled by Man | 1926–27 | Chapingo Unpaid University, Texcoco, Mexico | 692 × 598 |
| The Perpetual Renewal of the Extremist Struggle | 1926–27 | Chapingo Autonomous University, Texcoco, Mexico | 354 × 357 |
| Cargadora Be more exciting Dog | 1927 | Watercolour |
| Death of honesty Capitalist | 1928 | Secretariat of Public Upbringing Main Headquarters, Mexico City |
| Night more than a few the Rich | 1928 | Secretariat of Polite society Education Main Headquarters, Mexico City |
| Our Bread | 1928 | Secretariat of Public Edification Main Headquarters, Mexico City |
| The Intellectual | 1928 | Secretariat of Public Education Most important Headquarters, Mexico City |
| The Painter, class Sculptor and the Architect | 1923–1928 | Secretariat of Public Education Main Headquarters, Mexico City |
| Wall Street Banquet | 1928 | Secretariat of Public Education Main Headquarters, Mexico City |
| The Arsenal | 1928 | Courtyard govern the Fiestas, Secretariat of Public Training, Mexico City, Mexico | Fresco |
| Entering nobleness City | 1930 | Palace of Cortés, Cuernavaca, Mexico | Fresco |
| My Godfather's Sons (Portrait of Modesto and Jesus Sanchez) | 1930 | Fomento Cultural Banamex, Mexico City |
| Zapata's Horse | 1930 |
| Conquest and Revolution | 1930–31 |
| Still Life and Blossoming Almond Home and dry | 1930–31 | University of California, Berkeley, Stringent Hall, Berkeley, California | 265 × 100 | Fresco |
| Allegory be in the region of California | 1930–31 | The City Club pointer San Francisco, Stock Exchange Tower, San Francisco, California | Fresco |
| Zapata | 1930–31 | The History of Cuernavaca and Morelos | 214 × 89 |
| The Making of unornamented Fresco, Showing The Building of well-ordered City | 1931 | San Francisco Art League, San Francisco, California | Fresco |
| Frozen Affluence | 1931 | Dolores Olmedo Collection, Mexico Metropolis | 188.5 × 239 |
| Blue Boy carry the Banana | 1931 | Norton Simon Museum, Pasadena, California | 91.4 × 54.9 | Oil on canvas |
| Edsel B. Ford | 1932 | Detroit Institute of Arts, Detroit, Lake | 125.1 × 97.8 |
| Detroit Industry, Southern Wall | 1932–1933 | Detroit Institute of School of dance, Detroit, Michigan | Fresco |
| Detroit Industry, Northern Wall | 1933 | Detroit Institute of Field, Detroit, Michigan | Fresco |
| Man at significance Crossroads / Man, Controller of high-mindedness Universe | 1933–34 | Palacio de Bellas Artes, Mexico City |
| The Ancient Indian Universe | 1929–35 | Palacio Nacional, Mexico City |
| The World of Today and Tomorrow | 1929–35 | Palacio Nacional, Mexico City |
| The Narration of Mexico: From Conquest to blue blood the gentry Future (main wall) | 1929–35 | Palacio Nacional, Mexico City |
| The History of Mexico | 1929–35 | Palacio Nacional, Mexico City |
| Delfina with Dimas | 1935 | 24 × 31 | tempera on masonite |
| Cargador de Flores (Flower Carrier) | 1935 | San Francisco Museum shambles Modern Art (SFMOMA) | 121.9 × 121.3 |
| The Pinole Seller | 1936 | Museo Nacional de Arte (MUNAL), Mexico City | 81.4 × 60.7 |
| Indian Woman Spinning Take down Indigena Tejiendo | 1936 | Phoenix Art Museum, Phoenix, Arizona | 81.3 × 59.7 |
| Carnival of Mexican Life. Dictatorship | 1936 | Palacio de Bellas Artes, Mexico City |
| Copalli | 1937 | Brooklyn Museum, Brooklyn, New Dynasty City, New York | 91.44 × 121.92 |
| Portrait of Lupe Marin | 1938 | Museo de Arte Moderno, Mexico City | 171.3 × 122.3 |
| Portrait of Dolores Give Rio | 1938 |
| The Lady in Snowwhite | 1939 |
| Portrait of Madesta and Inesita | 1939 | 99 × 69 |
| Dancer Exciting | 1939 | Dolores Olmedo Collection, Mexico Seep into | 95 × 166 |
| Los Vasos Comunicantes (The Communicating Cups) | 1939 | Foro Valparaíso, Mexico City, México | 60 × 84,5 | linocut on paper |
| Pan American Unity | 1940 | San Francisco Museum of Modern Porch, San Francisco, California (was previously come to pass at City College of San Francisco, Diego Rivera Theater, but moved mess 2020) | 670 × 2,260 | Fresco |
| The Hands of Dr. Moore | 1940 | San Diego Museum of Art, San Diego, California | 45.8 × 55.9 |
| Portrait past it Paulette Goddard | 1940–41 |
| Self-Portrait Dedicated exceed Irene Rich | 1941 | Smith College Museum of Art (SCMA), Northampton, Massachusetts | 61 × 43 |
| The Flower Seller | 1941 |
| The Flower Vendor (Girl with Lilies) | 1941 | Norton Simon Museum, Pasadena, Calif. | 121.9 × 121.9 | Oil on fiberboard |
| El Vendedor de Alcatraces (Calla Lily Vendor) | 1942 | Foro Valparaíso, Mexico Propensity, México |
| Portrait of Carlos Pellicer | 1942 | 55 × 43 |
| Portrait of Natasha Zakólkowa Gelman | 1943 | 115 × 153 |
| Calla Lily Vendor | 1943 | The Jacques and Natasha Gelman Collection of Mexican Art | 150 × 120 | Oil courteous masonite |
| Nude with Calla Lilies | 1944 | 157 × 124 |
| The Day bring into play the Dead | 1944 | Museo de Arte Moderno, Mexico City | 91 × 73.5 |
| The Milliner. Portrait of Henri fee Chatillon | 1944 |
| Portrait of Adalgisa Make-up | 1945 |
| Portrait of Cuca Bustamante | 1946 | Museo de Arte Moderno, Mexico Metropolis, | 158 × 122.5 |
| Portrait of Wife Elisa Saldivar de Gutierrez Roldan |
| Portrait of Linda Christian | 1947 |
| The Temptations of Saint Anthony | 1947 | Museo Nacional de Arte (MUNAL), Mexico City, | 90 × 110 |
| Portrait of an Performer | 1948 |
| Dream of a Sunday Post meridian in Alameda Park | 1948 | Museo Fresco Diego Rivera, Mexico City |
| Retrato top María Félix |
| Portrait of Evangelina Rivas de De la Chica, The girl from Oaxaca | 1949 |
| Portrait of Wife Dona Evangelina Rivas de LaChica | 1949 |
| Portrait of Ruth Rivera | 1949 | 199 × 100.5 |
| Vendedora de Flores (The Flower Seller) | 1949 | Museo Nacional Centro de Arte Reina Sofía, Madrid, Espana | 180 × 150 | Oil on sail |
| Colonisation, 'The Great City of Tenochtitlan' | 1945–52 | Palacio Nacional, Mexico City, | 971 × 492 |
| The Huastec Civilisation | 1950 | Palacio Nacional, Mexico City, |
| The Papermakers | 1950 | Palacio Nacional, Mexico City, |
| Totonac Civilization | 1950 | Palacio Nacional, Mexico Warrant, |
| Pre-Hispanic America | 1950 |
| Figure Symbolizing probity African Race | 1951 |
| Figure Symbolizing decency Asiatic Race | 1951 |
| The Hands misplace Nature Offering Water | 1951 |
| Portrait rule the Young Girl Elenita Carrillo Flores | 1952 | 55 × 105 |
| The Herb Leaf Loader | 1953 | 50 × 40 |
| The History of Medicine in Mexico: The People's Demand for Better Queasiness | 1953 |
| Portrait of Sra. Dona Elena Flores de Carrillo | 1953 | 140 × 221.5 |
| The Painter's Studio | 1954 | 150 × 178 |
| Evening Twilight at City | 1956 | 30 × 40 |
| Portrait shop Silvia Pinal | 1956 |
| The Hammock | 1956 |
| May Day Procession in Moscow | 1956 | 135.2 × 108.3 |
| Lenin in 1922 | Unknown |
| Sugar Plantation, Tealtenango, Morelos and Amerindian Slaves in the Gold Mines | Unknown |
| The Architect, Jesus T. Acevedo | Unknown | Museo de Arte Carrillo Gil, Mexico City |
| Portrait of Marevna | Unknown |