In 1988, Mike Alewitz designed and began to direct the creation of Pathfinder Mural in New York City’s West Village. The mural, measuring 79 x 85 feet, was an international collaboration of 80 artists from 20 different countries including Argentina, Canada, Iran, New Zealand, Nicaragua and South Africa. At its dedication, it was hailed as one of the largest political murals in the world. In 1987, Alewitz had approached the leaders of the Socialist Workers Party (SWP), of which he was a member, and proposed that Pathfinder Press sponsored a mural for its Charles Street building. The party approved both the project and his concept of the mural: a celebration of the revolutionary struggles in Cuba, Grenada, Nicaragua and South Africa, as well as in America. The central image of the mural is a large red printing press. The faces of Fidel Castro, Che Guevara, Malcolm X, Karl Marx, and Nelson Mandela loop around it. The abolitionists Frederick Douglass, Harriet Tubman and Sojourner Truth also feature. During the creation of Pathfinder Mural, the National Endowment for the Arts withdrew funding from several controversial projects, prompting a debate on free speech and censorship. For the first few months of this mural's creation, work continued without incident. But in 1989, Patrick Buchanan, a conservative commentator, vilified the mural in the Washington Times, calling it a “six-story shrine to communism, a Marxist Mount Rushmore in Greenwich Village." As the mural neared completion, the dialogue between Alewitz and the SWP started to break down. Alewitz was blocked from attending the mural dedication ceremony on November 19, 1989. During December, vandals threw glass bottles filled with white paint at the mural. In 1996, the mural was removed in order to repair cracks in exterior wall of the Pathfinder building, and by 2003, the building on which Pathfinder Mural was housed was sold for around $20 million.
In 2011, the Puffin Foundation commissioned Mike Alewitz to paint a mural for the Puffin Gallery of Social Activism that would be on display in the Museum of the City of New York. Completed in 2014, the mural is a tribute to the labour and social justice movements and contains four panels. It includes slave ships and depicts the antislavery leader Frederick Douglass, as well as Martin Luther King Jr., Coretta Scott King and Elizabeth Gurley Flynn.However after viewing the mural, the museum declined to display it. They requested changes that reduced the prominence of Martin Luther King Jr. and added the Women’s Christian Temperance Union. Alewitz calls this a case of censorship and continues to campaign for his mural to be displayed.
In 2000, muralist Mike Alewitz planned on creating a series of murals about the heroes of the abolitionist movement, titled The Dreams of Harriet Tubman. Alewitz’s goal was to have the Dreams series as a necklace of murals across the state of Maryland with the flagship mural on a major wall in the city of Baltimore. This mural would depict Harriet Tubman, who was also known as Moses. In a pre-circulated plan on Black Radical Congress General News, Alewitz described how the flagship mural would have an army of freedom fighters (Martin Luther King Jr., Malcolm X, Mumia Abu Jamal, Sojourner Truth and Robert Gould) standing behind a musket-wielding Tubman. But the mural stirred up controversy when the group who had planned to display the mural, the Associated Black Charities Inc., decided the piece could be construed as racist and violent. Alewitz was asked to replace the musket but he refused: “I will not disarm Harriet Tubman. I won’t take [the musket] out of her hands.” The lack of a major wall was a setback for the Dreams series and another of the murals, on a wall in Hartford County, was defaced in the summer of 2000 by racist graffiti.