In the middle of the greatest crisis it had faced since the Civil War, the American government looked to the arts to both help lift the national spirit and spread the message of the New Deal. That collectively the people could renew American democracy and create a better tomorrow. More practically it was an extension of Federal Relief for 40,000 unemployed actors, musicians, writers and artists across the nation. On the government payroll and under the auspices of Federal One, a host of talents from Jackson Pollock to Arthur Miller, Orson Welles to Zora Neale Hurston helped democratise art; for the people, by the people with the people. The writer Marybeth Hamilton begins her journey through this remarkable but short lived experiment with the fine arts. Across the nation artists painted epic murals in small towns and vast cities that valorised work and workers or America's democratic past. Community art centres brought artists, students and the public together to learn, experiment and explore the possibilities of art for all. You could find art going on at subway stations, sewerage works and public schools and a hospital, school or public institution could loan a work for a few dollars. All of this was to provide employment in a time of crisis and renew American democracy but it raised deep questions about the role of art and who got to own it or see it. For its many critics, programmes like Federal One bred radicalism and dissent- subverting a nation. But for the many touched by those days, it was an unforgettable experiment in art and democracy.