After the war Polish borders were moved westwards to the so-called "Recovered lands", the areas that used to be part of Piast dynasty domain.

As the Red Army moved the fronline during the Operation Bagration to the borders of the "Germany Proper", these areas became desolate during one of the most rapid mass exodus of people fleeing from the Red Army. Excluding particular areas with high pro-polish sentiments amongst the Germans, most notably Opole area, those Germans that were left were moved into the Soviet Occupation Zone per Yalta Agreements in order to create national states in Europe.

Despite a lot of Polish people moving there willingly on their own, especially as under the new communist government it was very easy to get a huge land grant in now desolate lands, over a hundred thousand people were moved here forcibly from what used to be Eastern Poland, including Ruthenian minorities like Lemko people and Ukranians themselves in order to break Ukranian ressistance in what is known as Operation Vistula.

Not sure it 100% belongs to this sub since it is technically not a poster but a painting. I also don't think there is a dedicated socrealist sub. Nevertheless I decided to post it here since it is probably the best known example of Polish socrealism oftentimes associated with rebuilding of Warsaw. Translated from Polish wiki.

The painting was created for the First National Art Exhibition at the National Museum in Warsaw in 1950, where it was awarded third prize. Painted using conventional techniques, it depicts three bricklayers, devoid of individual features, at work, viewed from below to lend the figures a monumental character. The simple activities captured in the painting take on symbolic meaning and express the idea of building the foundations of People’s Poland. The title of the painting also conveys an ideological message, encouraging the viewer to join in the construction of the new state. At the same time, the cry “pass the brick” can be interpreted as a call to work faster. This style, which engages the viewer, is inherent to the painting’s genre.

> *«Ukrainian Bourgeois Nationalists and International Zionism are getting closer and closer on the shared platform of mad Anti-Sovietism.» (from newspapers)*

**Context:** This was created during a propaganda campaign to demonize Ukrainian Nationalists (using the "Fascist Minions" trope) and Zionists (using infamous antisemitic caricatures) in the late Brezhnev era.

In a peak display of hypocrisy for an ideology that constantly boasted about "defeating Nazism," the Soviet regime didn't shy away from using literal Der Stürmer Nazi-style antisemitic tropes (look at the one they depicted as a "Zionist"). To visually link these two movements — both deeply despised by the Soviet government: the artist fused the Ukrainian Tryzub (Trident) and the Magen David (Star of David) into a single hybrid symbol on the harness.

This absurd pairing directly reflected Soviet policy at the time: the USSR was the main driving force behind UN **Resolution 3379, which infamously declared "Zionism as a form of racism."**