During the tumultuous events of the 1978-79 Iranian Revolution, hundreds of thousands of Iranians from diverse political and economic backgrounds participated in mass demonstrations against the Pahlavi Monarchy. Expressing their grievances towards Mohammad Reza Shah, protestors took to the streets to challenge the U.S.-allied regime and demand change. As civilian unrest grew exceptionally stronger, the voices of the previously suppressed opposition groups grew louder. Diverse political and social organizations, including the Organization of Iranian People's Fada’i Guerrillas (Fada’i-e Khalq), disseminated their revolutionary ideologies through a variety of communicative media. While the eventual consolidation of state power under Ayatollah Khomeini demonstrates that Islamic-oriented groups most effectively mobilized the populace during the early-post revolutionary era, material evidence— such as political posters— reveals that various groups like the Fada’i-e Khalq were also significant instigators of dissent and fermenters of social action. Close examination of these visual ephemera as social agents exposes the complex ideological nuances of the 1979 Revolution. Political posters not only elucidate ideology, but also act as a testament to the political realities in which particular organizations operated. While previous studies of Iranian revolutionary poster art examine the visual content of the poster, such as iconographic motifs and cultural signs, these studies fail to contextualize the poster medium’s physicality and modes of production. Working within a material culture studies framework espoused by Elizabeth Edwards, Oleg Grabar, and Arjun Appadurai, this presentation will investigate the social life of the Fada’i poster. First, this paper will highlight the “pre-history” of the object by examining its processes of conception and production to reveal the operational structure of the clandestine Fada’iyan, as well as the printing technologies available to them. Following these germinative stages, the Fada’i poster is temporally and spatially contextualized through its dissemination in the public sphere. The object’s role is delineated as an inexpensive informational instrument aimed at conveying revolutionary zeal to the student population in the hopes of possible recruitment for the Fada’i cause. Finally, the presentation will discuss the artistic form of the Fada’i poster, particularly the representation of the fallen guerilla (cherik) as a martyr for the redemption of the collective. Such a study focusing on the material, presentational, and artistic forms of the Fada’i poster will lead to a better understanding of the poster medium as a one-way transmitter of an insurgent consciousness as well as to elucidate distinctive repertoire of visual motifs utilized during the 1979 Revolution.